Le Radeau De La Méduse

Superior Essays
1819, Paris, France. The elite of the art world wander through the halls of the Paris Salon. The art that surrounds them is traditional for the era, classic already: idealized, religious and mythological depictions. But then their eyes catch on a painting on the other side of the room: 16’ by 23’, it swallows them. They advance, slowly at first and then quicker to match the swell of their pulses. They stand before Le Radeau de la Méduse (The Raft of the Medusa), breathing in the horror of its gruesome truth. They see the corpses lining the edges of the raft and the survivors who climb over their heads; the size makes it impossible to ignore, but still some turn away, squeamish at the sight. It ignites the flame of the budding French Romantic movement. In an instant, the painting is the height of interest and artist Théodore Géricault, the subject of controversy.
Art is perpetually universal and narrates a story in a way that words cannot; there are no colloquialisms to be lost in translation. All interpretations are subjective, influenced by environments and pre-conceived conceptions. In an interview with The Guardian, Foo Fighters frontman Dave Grohl once said, “That's one of the great things about music. You can sing a song to 85,000 people and they'll sing it back for 85,000 different reasons.” Though Grohl was referring specifically to
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The Medusa’s captain had not sailed for over twenty years, and on one apocalyptic day, steered the ship straight into a sandbank. The deckhands hastily constructed a raft fit for 150, but the Captain and his top officers floated home safely in their lifeboats. For 13 days, the abandoned men drifted an accessible distance from shore, drained of supplies and hope. Two weeks later, only 10 remained, each able to depict in lurid detail the brutal homicide, suicide, and cannibalism that ate away at the

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