... of the composition of Theodore Gericault's fa• Fmous painting, The Raft of the Medusa, is rendered in a manner that suggests a kind of longing filled...

... with black people." of Bruegel, Rubens, de Gheyn and Jordaens, and in his appro• Ecstasy of Medusa is after Rubens's original and also refer• priation of the early modernist realism of Manet's meditation on ences Caravaggio's circular depiction of the screaming female...

... that is rather nostalgic, old- sense, a phrase used when it is not possible to determine world, and historical. an illegitimate child’s parentage. I have already worked with the theme of The Raft of the Medusa, which tells HM: The gothic is exhumed, a bit like manuscripts from...

... is the figure nial fantasy, we need to pay attention to the ways in of the blinding Medusa. For if the scene of Baker’s which it may already be enacting erasures of its own. unwitting exhibition is all about revelation and the Looking at the floor plans, we now notice that the European audience’s prurient...

... as a national symbol (whether of passengers origin or destina- tion is left ambiguous). One is inevitably remind- ed of Théodore Géricault s painting The Raft of the Medusa (1819) and the grim fate of its passengers. Then, standing apart, is the most gut-wrenching figural group of all: a pietà. We are left...

... being. more benign, though still hungry, mouths take over Her head, at the helm of this organism, is cov- from the all-consuming, self-satisfying singular ered with moving Medusa-like hair. Her massive entity. They are the survivors. The apocalyptic story body moves slowly across the sky...