The Death of Socrates is a painting by the French painter Jacques-Louis David, made in 1787. It depicts the death of the Greek philosopher Socrates, condemned by the Athenians to drink hemlock for having corrupted the youth. The painting had been commissioned to David by Charles-Michel Trudaine de la Sablière, a friend and patron of the painter. It was presented at the Salon of 1787, where it received praise from the public and critics. It is currently kept at the Metropolitan Museum of Art, in New York.
The historical and cultural context
The painting was painted at a time marked by the ideas of the Enlightenment and by the beginnings of the French Revolution. David was a politically engaged artist, who supported the ideals of freedom, equality and justice. He was also influenced by neoclassicism, an artistic movement that refers to Greco-Roman antiquity as a model of beauty and virtue.
David chose to depict the death of Socrates, a historical episode reported by Plato in his dialogues The Apology of Socrates and Phaedo. Socrates was a philosopher who taught in Athens in the 5th century BC. He was accused of impiety and corruption of young people, because he questioned traditional beliefs and encouraged his disciples to think for themselves. He was sentenced to drink hemlock, a deadly poison, but he refused to flee or retract. He died affirming his fidelity to his conscience and his mission.
The analysis of the work
The painting depicts a dramatic scene in an Athenian prison. In the center, we see Socrates sitting on his bed, dressed in a white sheet. He stretches his right arm upwards, making the gesture of speech. He holds in his left hand the cup containing hemlock, which he has just received from the jailer kneeling at his feet. He looks up at the sky, as if he were addressing the gods or truth.
Around him, we see his disciples and friends, who witness his death with emotion. Some cry, others lament or hide their faces. Only Plato, sitting at the foot of the bed, remains silent and collected. On the right side of the painting, we see an open door leading to the outside, where Socrates’ wife Xanthippe stands with her children. She is pushed away by one of Socrates’ disciples, who fears that she might disturb the calmness of the philosopher.
The painting is built according to a rigorous and symmetrical composition, which highlights the central character. The vanishing point is located at the level of Socrates’ face. The perspective is reinforced by the paving of the floor and by the vertical lines of the walls and columns. The light comes from a window located off-field on the left. It illuminates Socrates and his disciples, while the background of the painting remains in shadow.
The color palette is dominated by sober and cold tones, which reinforce the tragic and austere character of the scene. The white of Socrates’ sheet contrasts with the black of the other characters’ clothes. Some touches of red and gold bring accents of warmth and brightness.
The symbolic interpretation
The painting has been interpreted as a celebration of moral and intellectual values embodied by Socrates. David shows him as a hero who sacrifices his life to defend his freedom of thought and his love of wisdom. He opposes his dignity and courage to cowardice and ignorance of his accusers. He inspires respect and admiration from his disciples and friends.
The painting has also been interpreted as a political and philosophical allegory. David refers to the ideas of Enlightenment, which advocate rationalism, progress, tolerance and democracy. He criticizes religious intolerance, fanaticism, despotism and injustice. He invites the spectator to identify with Socrates, to question prejudices, to seek truth, to act according to conscience.
The painting has been admired by many artists , critics , philosophers or writers , who saw it as a masterpiece of neoclassicism . It has also been analyzed as an expression of David’s pictorial and personal genius .
The Death of Socrates is a masterful and emblematic work that testifies to David’s talent and commitment. He skillfully combines history painting, portrait, allegory, realism, to create a scene that is both moving and edifying. He also questions the relationship between artist, model, spectator, in an original and effective staging. It constitutes one of the peaks of 18th century painting.
