It is one of his first major works of art, and was completed when he was merely twenty-seven years of age. His choice of a controversial and taboo subject matter helped to launch his career. It depicts a scene from the infamous wreckage of French Naval frigate Méduse. On July 2, 1816, the vessel ran aground off the coast of Western Africa in the Bay of Arguin. By July 5th, The one hundred and forty-seven people aboard were forced to cast away on a makeshift raft. In their thirteen days lost at sea, all but fifteen died before rescue, and those who were rescued had endured starvation, dehydration, and resorted to cannibalism to survive. It is considered to be one of the most notorious and egregious shipwrecks of the Age of Sail. In preparation for his work, Géricault did considerable research to support his piece, visiting hospitals and morgues so he could view the textures and colors of dead flesh and the emotions and facial expressions of the dying. He questioned two survivors of the Méduse tragedy to gain insight to their personal experiences. Also, in an effort to recreate the scene precisely, he constructed an intricate scale model of the raft itself, as well as multiple preliminary sketches to prepare for this daring first
It is one of his first major works of art, and was completed when he was merely twenty-seven years of age. His choice of a controversial and taboo subject matter helped to launch his career. It depicts a scene from the infamous wreckage of French Naval frigate Méduse. On July 2, 1816, the vessel ran aground off the coast of Western Africa in the Bay of Arguin. By July 5th, The one hundred and forty-seven people aboard were forced to cast away on a makeshift raft. In their thirteen days lost at sea, all but fifteen died before rescue, and those who were rescued had endured starvation, dehydration, and resorted to cannibalism to survive. It is considered to be one of the most notorious and egregious shipwrecks of the Age of Sail. In preparation for his work, Géricault did considerable research to support his piece, visiting hospitals and morgues so he could view the textures and colors of dead flesh and the emotions and facial expressions of the dying. He questioned two survivors of the Méduse tragedy to gain insight to their personal experiences. Also, in an effort to recreate the scene precisely, he constructed an intricate scale model of the raft itself, as well as multiple preliminary sketches to prepare for this daring first