Théodore Géricault (1818-1819) “Raft of the Medusa” [oil on canvas]. Musée du Louvre, Paris.

Géricault achieves a sense of balance between formal arrangement and subjective chaos that would make the ancient Greeks proud. The twisting figures and subjective turmoil enhance the powerful churning of the sea and the impossibility of stability. In opposition to the chaotic formal arrangement reminiscent of an artist such as Kandisky, this is a work of optical realism and measured figurative arrangement. The result is emotional chaos and formal order balanced on a razor’s edge.

Separating a single of the many strengths of this composition is a challenge. In elemental terms, Géricault creates an illusionistically-realistic block of figures based on a stark pattern of values. The relative color brightness of the waves compared to the foreground references the failing vitality of the figures. Depth relies on chroma being used in an unintuitive way, stark modelling, complicated figurative interactions and relative focus.

The asymmetric balance trapped within the canvas is based on two points of tension. The swelling of the ocean tips the raft up where the greatest sense of downward thrust is generated by the figurative block. Conversely, the relative weightlessness of the opposite side of the raft builds a polarized sense of tension because of the anticipation that the right side will push down, tipping the left side up, aided by the next cycle of waves.

In addition to the formal and emotional balance conflicts present is that of amorphous, blended forms represented by nature overpowering defined, passive human forms. Géricault uses terminal values to express drama. Color purity is used to remarkable and specific effect: diluted colors overwhelm, causing the subtle blues of the ocean to appear brighter than they are. This global use of chroma causes the smattering of crimson to leap off the page, hinting at cannibalism that isn’t literally represented. The swelling block of figures continues the impression of force generated by the ocean waves, terminating at the muscular figure signaling for rescue.

This work provides a strong example of the master’s choice to adjust formal details in favor of communicating an underlaying message. Desperation and death are evident, but instead of rendering decomposition, the forms are athletic and youthful. This choice was made to eliminate any preoccupation with mortality in favor of Géricault’s political message (one I completely missed) because such figures are more accessible.