They don't make paintings like "Greece on the Ruins of Missolonghi" anymore.Still more.
The slow, ruminative medium of oil paint on canvas has pretty much had it as the sharpest system for the memorable delivery of effective, politically minded propaganda. Painting has long since been replaced by the relentless, 24/7 information cycle repeated nonstop on cable television and the Internet.
Painter Eugène Delacroix, born in a small Parisian suburb in 1798, was a principal artistic pivot on which the total transformation began. It's as if the pressures of unstoppable change pushed him to raise the propaganda bar to extravagant painterly heights.
"Greece on the Ruins of Missolonghi," painted in 1826, was among his first bravura masterpieces in the genre.
The allegorical painting is on loan from the Museum of Fine Arts in Bordeaux, France, for a small but incisive exhibition at the Los Angeles County Museum of Art. (L.A. and Bordeaux have been sister cities for 50 years.) The image is keyed to a tragic episode in the long war for Greek independence from Turkish rule.
Curator Leah Lehmbeck shows it with a Delacroix copy of an oil sketch by Peter Paul Rubens, one of his idols, plus the lovely little version of the "Grande Odalisque" by his chief rival, Jean-Auguste-Dominique Ingres, that LACMA acquired last year. There are also lithographs by Théodore Géricault, whose topical paintings Delacroix admired, and by Antoine-Jean Baron Gros, whose Neoclassical work he didn't. (Gros famously dismissed Delacroix's war painting "Massacre of Chios" as a "massacre of art.")
Finally, a bronze medallion by British artist Alfred Joseph Stothard portrays Romantic poet Lord Byron, who died in Missolonghi just a year before the dramatic event Delacroix's canvas commemorates. The poet gets cast in the style of an ancient Greek or Roman hero.
All these provide fractional context for Delacroix's big, melodramatic canvas. A complex story — what has been called Greece's Alamo, a site of heroic resistance fought to the death in the face of a superior military foe — is stripped to representative elements. The painter conjures a personified image of a society badly broken but not destroyed — down but not out. And he inflects the scene with a sly if subtle glimmer of ultimate redemption and deliverance.
The picture, nearly 7 by 5 feet, was painted quickly — in about two months. It is dominated by a life-size female figure whose blue cloak and white tunic employ the colors of the Greek flag to identify her as a personification of the beleaguered nation. Visually she's a cousin to Marianne, the ample-breasted symbol of the French Republic and ancestor of America's Statue of Liberty.
The rubble of a ruined city lies all around her, blood spattered on the stone block below her slipper-clad right foot. She has dropped to her knee, bent on a teetering slab.
Delacroix rendered Greece as strong and powerful, dynamic brushwork describing her garments. The vivid paint bolsters an energetic figure implied by strong limbs articulated beneath her clothing.
He learned the technique from close study of Rubens, who knew the seductive clout of tangible color. Baroque painting had largely been conceived to advance the claims of the Roman Catholic Church, beleaguered by Protestant assaults. Delacroix revived propagandistic elements of earlier Baroque style, but now he put them at the service of nationalist politics.
Delacroix's brilliance was to subsume religious imagery within this secular composition. Drawing on its memory, worldly miracles are invoked.
The white-robed figure of Greece, wrapped in blue, is part Mary of the Immaculate Conception. Spreading her arms wide, she's also part Mary lamenting the death of her son.
The stone slab on which she kneels invokes a tomb. Next to this sepulcher, the grim inclusion of a slain Greek fighter's severed arm quietly suggests the bodies of Lazarus and Christ, soon to be resurrected...
Photo Credit: Wikimedia Commons.
