Liberty Leading the People - Eugène Delacroix
Delacroix breathes life into his magnum opus by expertly capturing the existing cultural and class divide through expert use of colour and character drawing
At the dawn of the nineteenth century, French art found itself divided into two distinctive factions. The Poussinists, led by the French Baroque painter Nicolas Poussin, who crafted their compositions with meticulous draughtsmanship and the Rubenists who drew inspiration from the Flemish virtuoso Peter Paul Rubens, and chose to elevate colour as their central style.
Factions in philosophy often pave way for new forms of thinking.The difference in opinion between the Pousinnists and the Rubenists did the same. Art has always been influenced by politics and the French revolution of 1789 coupled with the July revolution of 1830 also created the necessary political background and socio-cultural context that was needed for a new wave of art form to be born.
Taking advantage of the faction in the art world, the new socio political landscape allowed the seeds of the French Romantic movement to germinate, ushering in a new generation of art and artists who would reshape the course of French and European art. It was in this dichotomy, that a young Eugène Delacroix, emerged as the prominent face of French Romanticism.
Delacroix's style was characterised by romantic overtones that weaved together threads of Baroque colour, with realism, and the timeless elegance of classical figure painting. This served as a testament to his mastery of diverse techniques and his ability to tell expansive visual stories by fusing emotion, form, and narrative.
And nowhere is this more prominent than in his iconic masterpiece, “Liberty, Leading the People”.
There are visuals that define epochal moments in history and “Liberty Leading the People” stands as the most prominent mnemonic of the fall of French monarchy and the rise of the bourgeoise and the liberalist French middle class.
A defining moment in French history.
At its core, it is a tribute to the tumultuous events that cascaded the July Revolution of 1830 when King Louis Philippe I, often referred to as the Citizen King ascended the throne following the abdication of King Louis XVI, the only French king ever to be executed - and ushered in a new constitution that would give more power to the middle class over the monarchy,
The July Revolution, with its fervour and aspirations for a better future, reverberates through the artist's meticulous brushwork, capturing the zeitgeist of the era.
Delacroix paints with vivacity. A resolute call to arms, with a boldness reflective of social uprising. It is visceral, almost shocking, laced with allegory and realism. The composition features a tumbling mound of corpses and wreckage, functioning as an unconventional pedestal upon which Liberty, showcased as a woman, boldly strides making her appearance felt. Her barefoot, bare-breasted form exuding a sense of unbridled power and vitality, a testament to the raw, unyielding spirit of the existing revolutionary rage.
She defiantly raises the French tricolour while clutching a bayonet-equipped rifle. Her profile reminiscent of a memorative coin, and the Phrygian cap atop her head allegorical to French symbols of freedom and liberty.
It is evident that Delacroix did not intend to present a literal depiction of a half-naked woman casually walking the blood soaked streets of the July Revolution's "Trois Glorieuses," or Three Glorious Days. Instead, her figure is an embodiment of Liberty as an allegorical symbol, signifying the rise of the common man against the monarchy, and a change in political and social order to usher in freedom for the masses from centuries of oppression. Some critics say that Liberty may have been inspired by the dutch maritime warrior Anne Bonny, but there is no conclusive proof that substantiates this claim.
Art imitates life and as such there can be no revolution without deep political and cultural factions that create stark social divide. Delacroix breathes life into his magnum opus by expertly capturing this cultural and class divide through expert use of colour and character drawing.
At the far left of the canvas, we are drawn to a figure who holds a briquet. His attire, consisting of sailor's trousers, a working shirt, and an apron, unmistakably designates him as a representative of the working class. However, his cholet handkerchief securing the pistol and scarlet ribbon on his beret testify his revolutionary spirit. Through his attire and accoutrements, the artist not only pays homage to the social divide but also underscores the indomitable spirit of the masses in the wake of the revolution.
Adjacent to the manufacturing worker, a compelling juxtaposition unfolds. Here, we encounter a younger man, unmistakably hailing from a markedly different socioeconomic stratum.
The visual contrast is stark and deliberate. Cloaked in an exquisitely tailored black coat, an open-collared white shirt adorned with a cravat, and crowned by a polished black top hat, this figure embodies refined elegance, a sartorial distinction that speaks of his social standing.
While the worker's attire reflects the utilitarian garb of the labouring masses, the gentleman's clothing evokes affluence and sophistication. It is in the choice of weaponry, however, where the artist deftly underscores the revolutionary ideals that transcend class boundaries. Instead of opting for the military weapon like his worker comrade, the gentleman carries a hunting shotgun—a symbol of privilege and leisure.
This subtle detail, becomes emblematic of the inclusivity that is intrinsic to all revolutions. Delacroix, through his meticulous rendering, encapsulates the idea that the call for change brings together not only the economically oppressed but also with those who enjoy the privileges of wealth and status.
The quest for liberty knows no social bounds. But in a revolution, it’s not just social divides that unite, even generations break ranks. The young, the old, the rich and the poor - all unite for a common cause. Delacroix celebrates this and to the left of the composition, we encounter an adolescent boy who carries a short sabre. As he stumbles and falters amidst the uneven cobblestones forming a makeshift barricade, the artist captures a moment of vulnerability and uncertainty.
On the right side of the artwork, a more recognisable figure comes into focus—a child wielding two pistols in a manner reminiscent of Victor Hugo's iconic character, Gavroche, from "Les Misérables." Cloaked in a black velvet cap, the young rebel assumes an air of youthful exuberance and tenacity.
In juxtaposing these two youthful figures, Delacroix unifies the generational divide in this social uprising. While the stumbling adolescent symbolises the uncertainties faced by the young, the figure on the right embodies a sense of unwavering conviction, symbolising the spirit of youth that is so critical to any revolutionary narrative, and was so crucial for the July Revolution itself.
Each figure in the painting encapsulates a facet of the revolutionary mosaic. What unites them is the fiery resolve that emanates from their resolute commitment to the cause they champion. Delacroix leaves no room for ambiguity. It is an urban battleground, dominated by the iconic silhouette of Notre Dame and a second tricolour from its ramparts , serving as a poignant reminder of the context of this struggle.
Eugène Delacroix's "Liberty Leading the People" encapsulates the revolutionary zeal of urban civil war, capturing a pivotal moment of French history. It captures the raw spirit of revolution where anyone and everyone can become a revolutionary when the tide turns too far.
Even those who have not borne a single armament in their lives.
This masterpiece embodies an iconic representation of the French Revolution but garnished with the raw effervescence of French Romanticism, As Delacroix himself wrote, "I have painted for her," and indeed, he has painted for us all
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