Compares two depictions of the assassination of Marat: David's Death of Marat, 1793 (Brussels, Musées royaux des beaux-arts), and Paul Baudry's Charlotte Corday, 1860 (Nantes, Musée des beaux-arts). Argues that David's work confronts the conflicts between the public and private spheres, while Baudry's denies the broader political and moral implications of the event by focusing on the personal.
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