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Purpose- To show how the youth sees the world— described as whimsical and out of reach.
Tone- Illustrates how one's youth is free of negative forces, and how easygoing the journey may seem.
Audience- General/wide audience, can be interpreted in many different ways, ambiguous
Theme- There is a long path from one's youth to their end.
Style- The color scheme and setting of this piece help to emphasize the tone by using muted colors over bold/dark colors that may symbolize a deeper theme.

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Purpose and Audience: To inspire people to fight back. The audience is the oppressed French people.
Subject: Revolution and war
Emphasis: The woman holding the French flag, weapons, smoke, chaos, dead people
Tone: Extreme patriotism
Feeling or Theme: Aggression and patriotism
Style: The woman is holding a bright flag to portray patriotism. She is also standing on top of a lot of dead people, barefoot, with a weapon to show the toll the revolution has taken on the people.

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2) The purpose of this painting is to display the French glory during the revolution. The painting depicts dead from both sides, implying that the revolution was a bloody one. The object of the painting is the woman in the front holding the French flag. She is holding the flag high, despite the bloodshed beneath her, implying that the deaths were worth it for the country. The tone of the piece is triumphant, inspiring hope across a seemingly hopeless time.
3) It was painted in 1830 by Eugene Delacroix. It was intending to depict the July Revolution of 1830 in which King Charles X was overthrown. The lady in the middle is Lady Liberty as she holds the flag of the French Revolution.
4) This connects to romanticism as the painting glorifies individual people and the group as a whole.  Lady Liberty is shown triumphant, holding the flag of the country above the death. It also depicts people on both sides who died for what they believed in.

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Liberty Leading the People ( French: La Liberté guidant le peuple [lalibɛʁteɡidɑ̃ləpœpl]) is a painting of the Romantic era by the French artist Eugène Delacroix, commemorating the July Revolution of 1830 that toppled King Charles X. A bare-breasted woman of the people with a Phrygian cap personifying the concept and Goddess of Liberty leads a varied group of people forward over a barricade and the bodies of the fallen, holding aloft the flag of the French Revolution - the tricolour, which again became France's national flag after these events - in one hand and brandishing a bayonetted musket with the other. The figure of Liberty is also viewed as a symbol of France and the French Republic known as Marianne. The painting is sometimes wrongly thought to depict the French Revolution of 1789.

Liberty Leading the People is exhibited in the Louvre in Paris.

By the time Delacroix painted Liberty Leading the People, he was already the acknowledged leader of the Romantic school in French painting. Delacroix, who was born as the Age of Enlightenment was giving way to the ideas and style of romanticism, rejected the emphasis on precise drawing that characterised the academic art of his time, and instead gave a new prominence to freely brushed colour.

Delacroix painted his work in the autumn of 1830. In a letter to his brother dated 21 October, he wrote: "My bad mood is vanishing thanks to hard work. I've embarked on a modern subject-a barricade. And if I haven't fought for my country at least I'll paint for her." The painting was first exhibited at the official Salon of 1831.

Delacroix depicted Liberty as both an allegorical goddess-figure and a robust woman of the people. The mound of corpses and wreckage acts as a kind of pedestal from which Liberty strides, barefoot and bare-breasted, out of the canvas and into the space of the viewer. According to Marcus Rediker she might have been inspired by a Dutch portrait of a fighting Anne Bonny. The Phrygian cap she wears had come to symbolize liberty during the first French Revolution, of 1789. The painting has been seen as a marker to the end of the Age of Enlightenment, as many scholars see the end of the French Revolution as the start of the Romantic era.

The fighters are from a mixture of social classes, ranging from the bourgeoisie represented by the young man in a top hat, a student from the prestigious wearing the traditional bicorne, to the revolutionary urban worker, as exemplified by the boy holding pistols. What they have in common is the fierceness and determination in their eyes. Aside from the flag held by Liberty, a second, minute tricolore can be discerned in the distance flying from the towers of Notre-Dame.

The identity of the man in the top hat has been widely debated. The suggestion that it was a self-portrait by Delacroix has been discounted by modern art historians. In the late 19th century, it was suggested the model was the theatre director Étienne Arago; others have suggested the future curator of the Louvre, Frédéric Villot; but there is no firm consensus on this point.

Several of the figures are probably borrowed from a print by popular artist Nicolas Charlet, a prolific illustrator who Delacroix believed captured, more than anyone else, the peculiar energy of the Parisians.

The French government bought the painting in 1831 for 3,000 francs with the intention of displaying it in the throne room of the Palais du Luxembourg as a reminder to the "citizen-king" Louis-Philippe of the July Revolution, through which he had come to power. This plan did not come to fruition and the canvas hung in the palace's museum gallery for a few months, before being removed due to its inflammatory political message. After the June Rebellion of 1832, it was returned to the artist. According to Albert Boime,

Champfleury wrote in August 1848 that it had been "hidden in an attic for being too revolutionary." Although Louis-Philippe's Ministry of the Interior initially acquired it as a gesture to the Left, after the uprising at the funeral of Lamarque in June 1832 it was never again openly displayed for fear of setting a bad example.

Delacroix was permitted to send the painting to his aunt Félicité for safekeeping. After the Second Republic was established following the revolution of 1848 it was exhibited briefly in that year, and then during the Second Empire in the Salon of 1855. The recently established Third Republic finally acquired the painting in 1874 for the collection of the Musée du Louvre in Paris.

In 1974-75, the painting was the featured work in an exhibition organized by the French government, the Metropolitan Museum of Art in New York and the Detroit Institute of Arts as a Bicentennial gift to the people of the United States. The exhibition, entitled French Painting 1774-1830: The Age of Revolution, marked a rare display of the Delacroix painting, and many of the other 148 works, outside France. The exhibition was first shown at the Grand Palais from 16 November 1974 to 3 February 1975. It moved to Detroit from 5 March to 4 May 1975, then New York from 12 June to 7 September 1975.

In 1999, it was flown on board an Airbus Beluga from Paris to Tokyo via Bahrain and Calcutta in about 20 hours. The large canvas, measuring 2.99 metres (9.8 feet) high by 3.62 metres (11.9 feet) long, was too large to fit into a Boeing 747. It was transported in the vertical position inside a special pressurised container provided with isothermal protection and an anti-vibration device.

In 2012, it was moved to the new Louvre-Lens museum in Lens, Pas-de-Calais, as the starring work in the first tranche of paintings from the Louvre's collection to be installed. On 7 February 2013, the painting was vandalized by a visitor in Lens. An unidentified 28-year-old woman allegedly wrote an inscription ("AE911") on the painting. The woman was immediately arrested by a security guard and a visitor. A short time after the incident, the management of the Louvre and its Pas-de-Calais branch published a press release indicating that "at first glance, the inscription is superficial and should be easily removed". Louvre officials announced the next day that the writing had been removed in less than two hours by a restorer without damaging the original paint, and the piece returned to display that morning.

Freedom for France, freedoms for the French (1940), a poster depicting Marianne

West Bank Wall graffiti art: An interpretation of Liberty Leading the People on the wall which runs through Bethlehem

Although Delacroix was not the first artist to depict Liberty in a Phrygian cap, his painting may be the best known early version of the figure commonly known as Marianne, a symbol of the French Republic and of France in general.

The painting may have influenced Victor Hugo's 1862 novel Les Misérables. In particular, the character of Gavroche is widely believed to have been inspired by the figure of the pistols-wielding boy running over the barricade. The novel describes the events of the June Rebellion two years after the revolution celebrated in the painting, the same rebellion that led to its being removed from public view.

The painting inspired Frédéric Auguste Bartholdi's Liberty Enlightening the World, known as the Statue of Liberty in New York City, which was given to the United States as a gift from the French a half-century after Liberty Leading the People was painted. The statue, which holds a torch in its hand, takes a more stable, immovable stance than that of the woman in the painting. An engraved version of part of the painting, along with a depiction of Delacroix, was featured on the 100 franc note from 1978 to 1995.

The painting has had an influence on classical music. George Antheil titled his Symphony No. 6 After Delacroix, and stated that the work was inspired by Liberty Leading the People. The imagery was adapted by Robert Ballagh to commemorate Ireland's independence struggle on an Irish postage stamp in 1979, the centenary of the birth of Pádraig Pearse, and the painting was used for the band Coldplay's 2008 album cover Viva la Vida or Death and All His Friends, with the words Viva La Vida written in white. Rigoberta Bandini references the painting in the chorus of her 2021 song Ay mamá. The cover of the 2010 book Enough is Enough: How to Build a New Republic by Fintan O'Toole references the painting, but with Kathleen Ni Houlihan holding the Irish tricolour in Dublin while the leaders of the three main political parties at the time ( Brian Cowen, Enda Kenny and Eamon Gilmore) lie on the ground.

During the 20 October 2011 episode of the BBC Radio 4 series , host Melvyn Bragg led a panel discussion of the painting.

Liberty Leading the People made an appearance in the 11th episode ("EDGELORD - Revolution of the 14-Year-Olds") of the Netflix animation series Ghost in the Shell: SAC 2045.

The painting was featured in , a 2021 South Korean TV series starring Song Joong-ki in episode 7. The series is also available on Netflix.

A photograph of Aed Abu Amro taken during the 2018-2019 Gaza border protests by Mustafa Hassona on 22 October 2018, was considered by some a personification of the Liberty Leading the People.

Libery Leading the People makes a prominent appearance in the 2023 film John Wick Chapter 4, starring Keanu Reeves. Near the end of the second act, main antagonist, Marquis Vincent de Garmont (Bill Skarsgård) is seen standing before Liberty Leading the People inside the Louvre Museum, which was famously closed to the public for the filming of the scenes.

Liberty Leading the People is considered a republican and anti-monarchist symbol, and as such was sometimes criticized by royalists and monarchists.

Pastore, Stephen R. (2012) Zola and Delacroix: Genius Amidst the Turmoil. London: Oxford University Press.

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Liberty Leading the People ( French: La Liberté guidant le peuple [lalibɛʁteɡidɑ̃ləpœpl]) is a painting of the Romantic era by the French artist Eugène Delacroix, commemorating the July Revolution of 1830 that toppled King Charles X.

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Purpose and audience - The purpose of this piece is to show a man being pulled to his destiny that his guardian angel has granted him control over. The audience is for those who are wondering about their future, and want to know how they can control it.

Subject - The freedom that comes with letting go of a guide you’ve been holding onto. The angel seems to be walking away from the man while he is reaching out for his hope and dreams that are represented in the castle in the distance.

Emphasis - The people in the painting, The man on the boat and the angel on the cliffside, sending him off.

Tone - The artist seems to have an uplifting tone to the painting. The colors and feeling of the artwork give the viewer a calm feeling.

Feeling or theme - The feeling of this piece is very inspiring and uplifting. The colors remind us of a dream and feel unreal. The theme is that you are in control of your future and should take the reins.

Style - Color pallet, placement of the people, grassy fields to symbolize life, and a palace in the clouds to symbolize death.

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The purpose is to show a dreamland that represents youth. The artist is showing the oasis created by the beauty of youth. The emphasis is placed on the flourishing greenery and the angel in the bottom right corner. The author's tone towards youth is benevolent and magical. The feeling of the observer is warm and comforting. The artist uses bright, warm colors to communicate the positive feelings towards youth.

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Audience/Purpose: To illustrate the difficulties of sleep paralysis and to embody it.
Subject: someone sleeping while a monster is sitting on their chest
Emphasis: it's very graphic and we can see the visual representation of sleep paralysis demons.
Tone: It's almost thrilling with the dark tones and the fact that you can't quite see everything in the picture.
Feeling/Theme: not being able to be in control of your life
Style:  The color contrast of the white dress and pale skin to the dark horse and brown/ green goblin is very jarring.

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- purpose:
To illustrate the dangers and darkness of death by substance. Even in the light of day, with growth and sun around.
-audience:
A warning to a younger audience
- Subject:
A person devastated by the use and/or addiction to a substance.
Emphasis:
Pale/grey skin on the main subject of the painting, broken glass, dropped bottle, messy setting, and plant growing in the window.
- tone:
Gloomy, dark, contrasting, grime
- Feeling or theme:
Sickness, death, light, disarray
- style:
Contrasting light and darkness, setting, and the addition of the plant on the window, and even the sunlight outside the small window all show light in darkness

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What is being portrayed is the young mind and the many different situations or journey that can be taken to reach an end goal. One of the main elements I believe is the girl that is on the boat as it could symbolize the beginning of the girls journey, the river and mountains are the journey which one is long and the other would be more treacherous to advance in. The tone I believe is one that is hopeful of what is to come in life through the journey. The style is one of nature as seen by the different environments found in the painting and how they all differ from one to the next.

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Art Piece - Liberty Leading The People

Purpose - To show the true violence and mortality the French Revolution has caused in order to achieve peace over the tyranny of the Monarchy.

Emphasis - The emphasis is put on the death and destruction that the Revolution caused

Tone - The artist takes a somber tone, even though he likely sided with the revolutionaries, the mortality of it cannot be ignored, even decades after it ended.

Style - The artist frames many dead bodies in the front and center of the piece to put the emphasis on the lives lost. He puts the revolutionaries over them to convey the fact that the idea of liberty was driving them all to commit heinous acts, as they thought the sacrifices were worth it.

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We think the purpose is to disturb children because it is named The Nightmare. A dead women with a gremlin on top of her with an eyeless horse in the corner is the subject. The dead women in all white could represent purity. The tone is evil and scary. We feel disturbed and freaked out. The style is dramatic goth, because of the features in it and colors.