Martyr and friend of the people, sketch cross-referenced from various paintings (thanks, David...)
99 notes
·
View notes
Glenda Jackson as Charlotte Corday in The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis De Sade, 1967, 1986
95 notes
·
View notes
Was browsing for frev relics and came across an interesting Marat painting claiming to be from 1791 ! I'm really not sure about the accuracy of the dating but nonetheless, it's without a doubt a painting of Jean-Paul !
56 notes
·
View notes
do kids these days even know about la canción de marat. are they aware of la canción de marat. everyone would do well to remember la canción de marat.
46 notes
·
View notes
based off that one Antonin Artaud picture
63 notes
·
View notes
My favourite Sewer People<3:
17 notes
·
View notes
augh
64 notes
·
View notes
three little Jacobins
216 notes
·
View notes
Old Marat art I did before I managed to nail down the way I draw him. Funky French Man just vibing
14 notes
·
View notes
Charlotte Corday (1793) by Jean-Jacques Hauer
She requested this painting a few hours before her execution.
9 notes
·
View notes
Hi! I am relatively new to Frev and I don't know much. All I know is the Oversimplified video but I know the Frev and its historical figures are more complex than that. Were Robespierre and Marat that evil/bad irl as they were portrayed in the videos? I'm not sure where to find sources that state that they aren't bad people but state that they are more complex. (My English isn't very good)
No, Oversimplified is perhaps not the channel you should go to if what you’re looking for is nuanced depictions of historical figures… I wouldn’t go so far as to say the portrayal of Robespierre and Marat is grounded in nothing but lies, falsehood and propaganda, but rather the fact that the video oversimplifies (duh!), focuses on comedy as much as history and tries to tell the story of a ten years long, very complex revolution in just forty minutes.
What’s positive is that it isn’t very hard to find depictions of Marat and Robespierre more nuanced than those presented in the video (even biographers hostile towards the two would be more balanced, since they at least have more time to tell their story). You can find free biographies on Robespierre here, and free biographies on Marat here. Then you can of course also read their own texts and thoughts (Robespierre, Marat) though if you’re new to this, I think it still might be best to start with a biography.
18 notes
·
View notes
MARAT:
Citizen Marquis
you may have fought for us last September
when we dragged out of the gaols the aristocrats who plotted against us
but you still talk like a grand seigneur
and what you call the indifference of Nature
is your own lack of compassion
SADE:
Compassion
Now Marat you are talking like an aristocrat
Compassion is the property of the privileged classes
When the pitier lowers himself
to give to a beggar
he throbs with contempt
To protect his riches he pretends to be moved
and his gift to the beggar amounts to no more than a kick [...]
No Marat
no small emotions please
Your feelings were never petty
For you just as me
only the most extreme actions matter
MARAT:
If I am extreme I am not extreme in the same way as you
Against Nature's silence I use action
In the vast indifference I invent a meaning
I don't watch unmoved I intervene
and say that this and this are wrong
and I work to alter and improve them
The important thing is to pull yourself up by your own hair
to turn yourself inside out
and see the whole world with fresh eyes
Peter Weiss, Marat/Sade (Trans. Geoffrey Skelton and Adrian Mitchell)
7 notes
·
View notes
“Marat’s death had other consequences equally unforeseen by the simple-minded girl who murdered him, and who went to the guillotine with a smile because she had rid the country of its worst oppressor. Instead of a monster whom people shunned, Marat became a martyr whom they worshipped. Plays, poems, and hymns were written in his honour. Children were baptized Brutus-Marat, Sansculotte-Marat, and Marat-le-Montagne. Streets and squares were called after him, and thirty-seven towns in different parts of France assumed his name. Someone forged and printed his farewell letter, with the trembling signature of a dying man. Several journalists paid him the compliment of issuing spurious imitations of his paper. Three small boys of ten to twelve read to their sectional committee a patriotic address, in which occurred the pious words, ‘O Marat, quit the elysian fields, and return to the midst of a people who adore thee!’ In some schools children were taught to make the sign of the cross at his name. His bust replaced the statue of the Virgin in the rue des Ours. It was seriously proposed that his body should be taken in solemn procession round the provinces, so that the whole nation might be able to join in the apotheosis of the great patriot.”
J. M. Thompson, Leaders of the French Revolution
“There is something terrible in the sacred love of the patrie; it is so exclusive that it sacrifices all, without pity, without fright, without human respect, to the public interest: it hastens Manlius; it sacrifices private affections; it drives Regulus to Carthage, throws a Roman in an abyss, and puts Marat in the Panthéon, victim of his own devotion.”
Louis-Antoine Saint-Just, Report against the Dantonists
68 notes
·
View notes
can a man not treat himself? is he not allowed a little bubble bath? to light a candle perhaps?
13 notes
·
View notes
Portrait of Jean Paul Marat, bust-length, turning his head briskly to the right, mouth open, his double-breasted jacket opened, revealing a dishevelled shirt; in oval; illustration to Marat's 'Plan de législation criminelle' (Paris: Rochette, 1790)
Lettered within image, alongside oval: 'Jean Paul Marat', 'L'ami du peuple', and below porrait, on table: 'Peuple! vois ton ami qui pour ta liberté / Au péril de ses jours te dit la vérité', and below image with production and publication detail: 'Blanchard fecit' and 'Se trouve a Paris chez Rochette rue St Jean de Beauvais No.38'.
According to Chevremont [who donated it to the museum] this lively portrait was made for Marat's 'Plan de législation criminelle' ('Plan for Criminal Legislation'), which was published in Neuchatel in 1780. Rochette published an edition of the work in 1790.
from The British Museum
37 notes
·
View notes