**Mr. Whitten, I apologize for the length of this. I found it interesting and got carried away because I had a lot to say.
Sigh. Revolutionary leaders and their selfies.
I guess everyone acts like a teenage girl at some point...
even old, most likely balding men.
But hey, who am I to judge.
And now to the actual content of this post.
PHOTO NUMERO UNO: Jorge Washington
The first thing that strikes me about this first portrait is Washington's pose. Good old Georgie is pulling off quite a majestic stance there. His standing tall with his head held high sends the message that he is strong and willing. His facial expression - set, stern, and serious - tells the viewer that he means business, and oh does he mean it. He doesn't look outwardly dangerous or intimidating, but theres something about his facial expression that says "Don't mess with me." Maybe its the knowing eyes or the locked jaw. His gesture of the extended arm leads me to believe that it is as if he is gesturing to the newly independent land of America, as if to say, "Check out this place and all its bounty. You don't have to report back to the King anymore." The sword that he carries, I believe, is a symbol of his strength, and (in the view of an optomist) a symbol of a promise to fight for his newly independent land. Overall, nothing about the picture makes him look like a bad guy, yet none of it leads me to believe that if he were alive today that I'd be interested in what he has to say. The colors used are brighter than I've seen in most paintings of political leaders. Since this was probably generated in the aftermath of the revolution, perhaps these colors were used around Washington because he was held in a high, optomistic light. 'MERICA!
PHOTO NUMERO DOS: Marat
"SWEET MARY MOTHER OF GOD" <- initial reaction
"SCARY" <- reaction after viewing for about a minute
"I CAN'T GET OVER IT AND IT WILL HAUNT MY SLEEP TONIGHT" <- final conclusion.
This picture is FREAKY. Dark colors are used everywhere, and it gives a really eerie, dismal tone to the whole thing. I don't even want to talk about the guy's physical appearance, but hey, I have to for a good grade, so here we go. First thing I notice? He's bloody. Yup. Bloody. In my opinion, maybe this is supposed to symbolize him giving himself for the people? Not too sure though. All I can take from it is that it seems as though he is some sort of sacrifice. His facial expression makes him look weary and tired...but I can't really see any pain in it. Maybe a little bit, but he clearly isn't in an overwhelming amount of pain...but he has what looks like a STAB WOUND, or a really deep scrape on his chest. Why that is there, I do not want to know. Perhaps it is supposed to be representative of pains he faced during the revolution. He is writing some sort of letter that is blood stained. I have no clue what it could be about, but I know that it says his name in the middle of it. He looks like he is popping out of a bed...or even a coffin of some sorts. Who knows. There is blood on the edges of the white canvas around him, which leads me to believe that he is sitting in a pool of blood or something...I feel as though this painting is representative of Marat on his death bed. His head is wrapped in a turban-like head covering, as well.
PHOTO NUMERO TRES: Toussaint
What a nice change after the last picture! In this portrait, Toussaint is standing very tall and upright, making him look imposing and almost intimidating. His posture makes him look very strong and majestic. The large sword that he is brandishing reminds me of the photo of George Washington, although in Washington's photo, he is holding the sword in his left hand rather than Toussaint who is holding the sword in his right. Is this significant? Probably not. He is holding a large piece of parchment, which I believe is probably the result of Haiti's revolution - a write-up of what they desire their government to be. He is very well dressed in the portrait, and his facial expression looks wise and serious. The man approaching in the background looks as if he is looking up towards Toussaint, which causes Toussaint to appear to be a role model of some sorts and definitely a leader figure towards the soldiers. The mountain and land behind Toussaint look very beautiful and welcoming, which contributes to projecting the idea that Toussaint is helping to bring peace and happiness to the land of Haiti.
PHOTO NUMERO CUATRO: Simon Bolivar
Ok, first of all, let's look at this guy's facial expression. When I look at the way his eyes are slanted toward the artist, mouth all smugly positioned, all I can hear in my head is "Mmhm. Check me out. I was a revolutionary leader. Aww yeah. Get at me." He too, in this portrait, is brandishing a sword. In the portraits of Washington and Toussaint, the sword was held in a more relaxed fashion toward the ground. However, in the portrait of Bolivar, the weapon is more extended and pointed off the ground in a more threatening position. This is probably intended to make Bolivar look strong, tough, and imposing. He is also dressed very well - this probably was intended to make him appear as strong and a credible leader. His stance looks rather cocky and arrogant.
I noticed that (as far as similarities go), in all of these portraits, the leader is holding something in his hand - each an instrument of revolution. 3/4 of them were brandishing weapons - a symbol of war that was fought - Marat was holding a quill, most likely the symbol of writing up the ideal government. Also, in EVERY portrait, there is parchment and/or quills visible somewhere in the portrait. I believe that they had these elements in common because each element really stresses the fact that these are revolutionary leaders in the portrait, as element has something to do with fighting for the revolution or reformation. I believe that these men are portrayed in the way that they are because it projects the image that they are role models, and strong, follow-able leaders that will lead the people to success. This accomplishes, in regards to these men, that future generations would have great respect for them, and attempt to model themselves after these men in order to become adequate leaders. Revolutions NEED heroes, because it gives a face to the fighting and someone for the people to look up to and follow for guidance. It helps to add a purpose to the revolution, because people seek to please those who they respect. The artist is really only celebrating their ideals, however. Even if these men were brilliant leaders anyways, if they were not pro-revolution, they would not be loved. It is the fact that they maintained the ideals of the people that gathered respect and a cause for celebration about them.
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