theodore girico stood at the dawn of the advent of romanticism, unlike his brother in arms the wife ofwas his painting of the fruit of medusa that became a symbol of the era. the picture is based on real events. on july 2, 1816 , a french ship called. jellyfish ran aground off the coast of west africa. in stock there were only six lifeboats, the number of seats was 250. although there were 400 people on board the ship. the remaining 150 were sent to the fruit, hastily constructed from improvised materials. the captain, officer and privileged class took their places in the boats. soon a storm began and the frightened passengers of the boats cut the rope with which the raft was tied to them, thereby dooming the women, sailors and colonists to certain death. from the supplies there was a bag of cookies, two barrels of water and two wines, famine began, fights for food, then cannibalism and murder, out of 150 people survived only 15, this event turned into a scandal in the press of that time, discrediting france, its king, who appointed an inexperienced captain to the voyage, only because

sensational the story attracts the attention of the young artist theodore girico.hes for a giant canvas, which is now kept in the louvre. initially, girico planned to paint people in boats who get rid of a burden. then he made sketches of the cannibalism scene. but all this seemed too, as they say, in the forehead. theodore stopped at a very ambiguous scene, the scene of the supposed salvation, only thanks to this choice the picture can be classified as a romantic genre. the canvas is lined up according to based on the triangle principle, this is a classic compositional technique. in the center we see exhausted, half-dead people waving into the distance with the last of their strength. a barely noticeable dot of the supposed ship can be seen on the horizon. and here is the most interesting moment: the audience. does not understand, notices or not, the ship is a fruit, this is a romantic conflict that is inherent in the entire direction, the conflict between man and nature. in the corner of the picture we notice a man who bowed his head over the cold body of his son