The Image of Death in the Environment of the French Revolution

The traditional expressions of art, painting and sculpture postulate, since the French Revolution, a renewed symbolism of death. The human body, alive or dead, serves as a model in the replica. This ambiguity between fiction, presence and space generates aesthetic pleasure.&nbs...

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Autor principal: Rosso, Ana María
Formato: Online
Idioma:spa
Publicado em: ABRACE / ANDA / ANPAP / ANPPOM
Endereço do item:https://periodicos.ufrn.br/artresearchjournal/article/view/29674
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spelling oai:periodicos.ufrn.br:article-296742022-11-28T03:56:26Z The Image of Death in the Environment of the French Revolution La imagen de la muerte en el entorno de la Revolución Francesa Rosso, Ana María Death Symbol Hero Antihero French Revolution Muerte Símbolo Héroe Antihéroe Revolución Francesa The traditional expressions of art, painting and sculpture postulate, since the French Revolution, a renewed symbolism of death. The human body, alive or dead, serves as a model in the replica. This ambiguity between fiction, presence and space generates aesthetic pleasure. The power of Platonic reminiscence or the mental image in funeral representations (which require visibility and official presence in the social public space) is re-signified. Art, once again, drifts in collective conscience for expressing political interests and ideologies. The ideals of the Revolution gave however a different orientation to symbolic perception: the portrait as a medium of the lifeless body, the shadow with or without form, the body support, the mystery, the absence-presence, and the suggestion, as in The Angelus by Jean-François Millet. The approaches vary. Heroic death: the corpse of Marat, a citizen hero, invulnerable due to his ritual metamorphosis, becomes glory (Jacques-Louis David); the gratuitous death of the antiheroes, as in the executions depicted in the canvas The 3rd of May 1808 in Madrid by Francisco de Goya; the natural forces that threaten death: The Raft of the Medusa by Théodore Géricault; natural and inevitable death: Camille Monet on her deathbed by Claude Monet, and so on. Las expresiones tradicionales del arte, pintura y escultura, postulan desde la Revolución Francesa un simbolismo renovado de la muerte. El cuerpo humano, vivo o muerto sirve como modelo en la réplica. Esta ambigüedad entre ficción, presencia y espacio genera placer estético. Se dinamiza el poder de la reminiscencia platónica o la imagen mental en las representaciones funerarias que exigen visibilidad y presencia oficial en el espacio público social. Sin ser superficies ciegas, conforman la conciencia colectiva y los intereses e ideologías políticas. Los ideales de la Revolución dan formas diversas a la percepción simbólica: el retrato como medium del cuerpo sin vida, la sombra con o sin forma, el soporte corporal, el misterio, la ausencia-presencia, o finalmente la sugerencia, como en El Angelus de Jean-François Millet. Los enfoques varían. La muerte heroica: el cadáver de Marat, héroe ciudadano, invulnerable por su metamorfosis ritual, se convierte en gloria (Jacques-Louis David); la muerte gratuita de los antihéroes: Los fusilamientos del 3 de mayo de Francisco de Goya; las fuerzas naturales que amenazan de muerte: La balsa de la Medusa de Théodore Géricault; la muerte cotidiana e inevitable: Camille Monet en su lecho de muerte de Claude Monet, y así sucesivamente. ABRACE / ANDA / ANPAP / ANPPOM 2022-07-28 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://periodicos.ufrn.br/artresearchjournal/article/view/29674 Art Research Journal: Revista de Pesquisa em Artes; Vol. 9 No. 1 (2022): Dossier Warburg: Contributions to The Warburg 2019 International Symposium, Buenos Aires ARJ – Art Research Journal: Revista de Pesquisa em Artes; v. 9 n. 1 (2022): Dossiê Warburg: contribuições ao Simpósio Internacional Warburg 2019, Buenos Aires 2357-9978 10.36025/arj.v9i1 spa https://periodicos.ufrn.br/artresearchjournal/article/view/29674/15942 Copyright (c) 2022 Ana María Rosso (Autor) http://creativecommons.org/licenses/by-nc-sa/4.0
institution Periódicos UFRN
collection Portal de Pediódicos Eletrônicos da UFRN
language spa
format Online
author Rosso, Ana María
spellingShingle Rosso, Ana María
The Image of Death in the Environment of the French Revolution
author_facet Rosso, Ana María
author_sort Rosso, Ana María
title The Image of Death in the Environment of the French Revolution
title_short The Image of Death in the Environment of the French Revolution
title_full The Image of Death in the Environment of the French Revolution
title_fullStr The Image of Death in the Environment of the French Revolution
title_full_unstemmed The Image of Death in the Environment of the French Revolution
title_sort image of death in the environment of the french revolution
description The traditional expressions of art, painting and sculpture postulate, since the French Revolution, a renewed symbolism of death. The human body, alive or dead, serves as a model in the replica. This ambiguity between fiction, presence and space generates aesthetic pleasure. The power of Platonic reminiscence or the mental image in funeral representations (which require visibility and official presence in the social public space) is re-signified. Art, once again, drifts in collective conscience for expressing political interests and ideologies. The ideals of the Revolution gave however a different orientation to symbolic perception: the portrait as a medium of the lifeless body, the shadow with or without form, the body support, the mystery, the absence-presence, and the suggestion, as in The Angelus by Jean-François Millet. The approaches vary. Heroic death: the corpse of Marat, a citizen hero, invulnerable due to his ritual metamorphosis, becomes glory (Jacques-Louis David); the gratuitous death of the antiheroes, as in the executions depicted in the canvas The 3rd of May 1808 in Madrid by Francisco de Goya; the natural forces that threaten death: The Raft of the Medusa by Théodore Géricault; natural and inevitable death: Camille Monet on her deathbed by Claude Monet, and so on.
publisher ABRACE / ANDA / ANPAP / ANPPOM
publishDate 2022
url https://periodicos.ufrn.br/artresearchjournal/article/view/29674
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