Paul-Jacques-Aimé Baudry painted Charlotte Corday in 1860.
Now, likely as not if you’ve seen it you know the work on which it’s based: Jacques-Louis David’s 1793 Death of Marat.
I just can’t help myself, though. I adore how transparently Baudry has translated David’s painting into the mid-nineteenth century interpretation of Marat and Corday.
Instead of a grandly tragic hero of the French Revolution, Marat has become a contorted, bizarrely foreshortened villain, kitchen knife still jutting from his chest as his writing desk falls haphazardly into his therapeutic bath.
Meanwhile, the previous unseen Corday becomes the brave hero of the scene.
If ever there were proof of the effect of time on historical interpretation, this, dear reader, is it.