Liberty leading the people (in French, La Liberté guidant le peuple) is a painting painted by Eugène Delacroix in 1830 and preserved in the Louvre Museum in Paris and one of the most famous in history. The canvas symbolizes the Revolution of 1830 on July 28, a scene in which the people of Paris rise up in arms against King Charles X of France. The latter had abolished parliament by decree and intended to restrict freedom of the press. The riots turned into an uprising that led to a revolt by French citizens. There was no ringleader; the interest in the revolt was class-based, to the extent that the bourgeoisie saw itself benefiting from the movement. However, Delacroix represents Liberty as a guide that leads the people, which is shown as multiform, that is, with members of the middle and lower social classes. Thus, Liberty is allegorized as a woman of great beauty. The spectator only has two possibilities, to join the mass, or to be devastated by it. The people are the union of classes: the bourgeois is represented with his top hat and wielding the rifle, next to a ragged man and a wounded man who asks France for mercy. Mists and smoke from the battle appear in the background, diluting a rather realistic French Quarter.
Liberty leading the people (in French, La Liberté guidant le peuple) is a painting painted by Eugène Delacroix in 1830 and preserved in the Louvre Museum in Paris and one of the most famous in history. The canvas symbolizes the Revolution of 1830 on July 28, a scene in which the people of Paris rise up in arms against King Charles X of France. The latter had abolished parliament by decree and intended to restrict freedom of the press. The riots turned into an uprising that led to a revolt by French citizens. There was no ringleader; the interest in the revolt was class-based, to the extent that the bourgeoisie saw itself benefiting from the movement. However, Delacroix represents Liberty as a guide that leads the people, which is shown as multiform, that is, with members of the middle and lower social classes. Thus, Liberty is allegorized as a woman of great beauty. The spectator only has two possibilities, to join the mass, or to be devastated by it. The people are the union of classes: the bourgeois is represented with his top hat and wielding the rifle, next to a ragged man and a wounded man who asks France for mercy. Mists and smoke from the battle appear in the background, diluting a rather realistic French Quarter.
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