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18 of 21 people found the following review helpful:
5.0 out of 5 stars
Maritime Disaster, Political Disaster, Artistic Success, October 7, 2007
This review is from: The Wreck of the Medusa: The Most Famous Sea Disaster of the Nineteenth Century (Hardcover)
One of the many masterpieces within the Louvre is a huge and grim painting of a group of men abandoned on a raft in the middle of the sea, each in a pose of despair, or of the sliver of hope that a ship, seen as a tiny smudge on the ocean's horizon, might notice them. The famous painting, _The Raft of the Medusa_, is an 1819 version of what moviegoers now know as a disaster picture. It is the most famous artifact inspired by a real incident that had occurred three years before, the result of a shipwreck that had caught the imagination of the people of France and was a scandal that affected the restoration government of the time. The stories of the sailors, raft, and survivors have been told before, but Jonathan Miles in _The Wreck of the Medusa: The Most Famous Sea Disaster of the Nineteenth Century_ (Atlantic Monthly Press) has incorporated them into a larger tale of politics, painting, and propaganda. The disaster at sea is inherently fascinating, but it is finished in the first half of the book, the many strands of which Miles has made just as interesting and vital, if not so macabre.
The ship _Medusa_ was a French frigate in a convoy bound for the French colony Senegal, carrying Governor Schmaltz, the new leader for the colony and captained by Hugues Duroy de Chaumareys, was an old Royalist who was given his commission by the new king Louis XVIII, who with Napoleon in exile was trying to produce a unifying government. De Chaumareys was an incompetent seaman, and the _Medusa_ ran aground on bank west of the Sahara. To handle those fleeing the wreck who could not fit into the boats, the crew made a huge raft, lashing together spars and planks, and giving it a mast and sail. 147 people crowded on board the raft, which was tied to the ship's boats and was supposed to be towed by them as the whole conglomeration made for land. The raft was waterlogged and it held the boats back, so the governor gave the order that the tow rope be cut. For two appalling weeks, the diminishing crew experienced murders, suicides, delirium, hallucinations, mutiny, and cannibalism. The raft was eventually found by another ship in the _Medusa_'s convoy, with only fifteen men barely alive. One of the survivors was Alexandre Corréard, an engineer who went on to co-write the outstanding account of the disaster, along with political blaming for it. One of those susceptible to the romantic horror and the political barbs of the book was Théodore Géricault, who was inspired by the horrors of Corréard's story to depict the lamentable raft and its final crew. To help with research for the painting, he gathered body parts from the nearby morgue, and kept them within his studio. Corréard would come to the study and be unfazed by the stench and the gore, as it was a commemoration of an episode he had actually lived. Géricault painted his new friend into a key role in the painting, and among his other (living) models was also his friend Eugene Delacroix, who could not endure the body parts in the studio with Corréard's detachment.
Géricault produced a romantic, horrifying painting which was not a journalistic depiction of the actual events but an artistic exaggeration of them in many ways. Miles points out that the bodies are of classic musculature, not wasted away. There are too many of them in the picture, and the raft is too small. There are three black Africans in the painting, one given pride of place at a pinnacle as he tries to wave down the distant ship. Actually, only one black man was aboard; Miles examines the French attitude toward slavery at the time, and Géricault's use of these figures to make a statement upon it. The painting, completed in 1819 made Géricault's name, although not immediately. Critics objected, among other things, to its almost monochromatic use of sickly browns and greens. When it was viewed in London it caused a sensation, but it failed to sell. It was rolled up for storage, and the disappointed Géricault lived on only three more years, dying at age 32. He was emaciated and crippled by tuberculosis, and by debt and disappointment. His morbid fascination with his subject and his macabre way of producing his masterwork could almost be said to have made him yet another victim of the shipwreck. Miles's retelling of the story of the wreck and the abandoned raft is full of grisly thrills, but his account of its effects on Géricault and his art is of heart-wrenching humanity.
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10 of 11 people found the following review helpful:
5.0 out of 5 stars
History as a "Ripping Good Yarn", October 7, 2007
This review is from: The Wreck of the Medusa: The Most Famous Sea Disaster of the Nineteenth Century (Hardcover)
If you`ve been fortunate enough to visit Paris, there's a good chance you've gone to the Louvre. There you may have found yourself looking at a very large and very striking painting, The Raft of the Medusa, by Theodore Gericault.
The painting graphically portrays men dying, dead, and clinging to life on a raft at sea, while frantically signaling to a distant ship on the horizon in the hope of rescue. Was this painting based on a real incident? How did these men come to find themselves there? Why did Gericault paint this horrific work? How did the public react to it?
Jonathan Miles in his excellent new book, Medusa: The Shipwreck, The Scandal, The Masterpiece, answers with passion and wit these and more questions about the events that inspired this masterpiece. Compelling though the astonishing acts of heroism, savagery and villainy spawned by this horrific ship wreck are, they're only part of the story. The resulting scandal rippled through 19th Century French and British politics and society for many years.
Miles' work is an excellent piece of scholarship that is also a "ripping good yarn" of a wreck at sea and human survival at its rawest. It also a study of a cover-up and justice, both gained and tragically denied. In telling the story behind Gericault's memorable painting, Miles demonstrates how events can influence art, and how art in turn can influence events.
Whether you are a Historian, Art Historian or just someone looking for a good book that provides food for thought, Jonathan Miles' vivid account of the Medusa and its fate is well worth a read.
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8 of 9 people found the following review helpful:
1.0 out of 5 stars
Don't waste your money, January 21, 2010
The Book:
Wow! This was the worst written book I have ever suffered through. The story is facinating, but the writing is incredibly bad. The editor did not salvage the book either.
3/4 of the book has nothing to do with the expedition or the wreck. Most of the pages are wasted trying in vain to explain French politics, art, and other trivial topics. There is no logical order to the book. The writer constantly jumps around in both time and place. There is also an assumption that the reader has a good understanding of the French political history including Napoleon and the Restoration of the Bourbons. (I do not.)
I expected a book about a shipwreck, and I was very dissapointed.
The Format:
I purchased this in Kindle format. I have read ~25 books on Kindle so far, and this book had more formatting errors than all of the others combined. Almost every numeric date was messed up. ( "1 808" instead of "1808", "July 618 16" instead of July 6, 1816)
Don't waste your money!
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