Despite the cold and rain, today’s walking tour was an excellent way to begin the day. Our guide had amazing stories about the Revolution that, when coupled with the monuments and sites around Paris, made the focus of our class seem even more relevant. One of the stories that fascinated me the most was the explanation of the David painting La Mort de Marat, or The Death of Marat. This painting depicts the dead body of revolutionary leader Jean-Paul Marat after he was assassinated by Charlotte Corday, who disagreed with the radical approaches of revolutionaries like Marat.

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When discussing the painting, our guide noted the exaggerated or fabricated aspects meant to convey a specific message. Marat’s arm seems way too large for his body, and it is still holding his pen (the other hand holding the paper he was writing on). His skin is also unblemished despite his known skin disease; he also isn’t wearing a shirt, which would’ve helped spread the water of his medicinal bath. He is also perfectly slouched over the bath and depicted in dramatic lighting. All of these features work to depict Marat as a martyr, unjustly killed while serving the revolution. He is dramatized and idealized, making the painting an effective political tool.

This sort of politicized manipulation can be found in many of the works of art and writing during the French Revolution. Burke, Paine, and Wollstonecraft all used language and rhetorical devices to further the views and compel readers to agree. It didn’t matter what side you were on in the revolution; everyone was using propaganda to rally the people. I think it’s particularly interesting to analyze artwork for these subtle messages—they don’t always see so obvious!