Death of Marat by Jacques-Louis
David in 1793, is a portrait of the French Revolutionary leader Jean-Paul
Marat.  The painting is a picture of a
dead man, with a bloody gash under the right clavicle.  In the gentlemen’s right had is a felt pin as
it dangles out of the tube.  In the left
hand, the gentleman is holding a piece of bloody paper that has the date of his
murder, and the name of the person who murdered him, Marieann Charlotte
Corday.  There is a wooden table to the right of the tub the holds
the ink used to write with the felt pen. 
The style of the painting is neo-classicism.  Neo-classicism was the rediscovery of the
classical art form in the Greek and Roman times.  Jean-Paul David idealizes by depicting him as
a hero in the painting.  His intention
was to reveal Marat as having high moral values.  The painting is the classical principle of
the golden section.  The horizontal lines
are through the edges of the tub, the top of the side table, and the ledge
where Marat’s head was lying.   Vertical lines are through the side table and
the folds of the white cloth.  Horizontal
lines are 
shown through the line that passes through Marat’s nose, down
through his right arm and continuing in the folds of the cloth underneath his
elbow.  Marat had a skin condition that
caused him to spend most of his time in the tub.  The scene is in a bare bathroom with nothing
present in the room but the tub, a cloth, and a box.  The linear perspective is depicted by the tub
that holds Marat’s body.   As mentioned
before, Marat suffered from a skin condition, which is not depicted in the
painting.  He is pained in a classical
position.  The dead body is depicted as
monumental composition.  The table in the
painting resembles a monument with David’s signature and Marat’s name on top as
a dedication. 

Shadow Birk’s paint of Death of
Manuel, a Neo-classical and Romantic history painting was based on
Jacques-Louis David’s Death of Marat. 
Birk is paying homage to the previous artist while depicting the image
in a contemporary lifestyle of the city. 
The position of Manuel is positioned exactly how Marat’s body was
positioned.  The difference in the
painting is that Manuel is in a Candy apple red Chevy Impala.  The car is riddled with bullets holes.  Instead of a white cloth, Manuel is wearing a
black and white bandana.  Manual is
wearing a t-shirt, with a gunshot wound instead of a stab wound as painted in
the Death of Marat.  Manuel’s left hand
is grasping on to the steering wheel of the Impala.  Birk uses the real effects of everyday life
in the ghetto.  

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