plato painting about to die
Although he consulted Father Adry, a scholar on the subject, David’s depiction of Socrates death contains many historical inaccuracies. For simplicity, he removed many characters originally described in the dialogues of Plato. However, he included Apollodorus, the man leaning against the wall just within the arch, even though he is said to have been sent away by Socrates for displaying too much grief. David also historically misrepresented the ages of many of the pupils of Socrates, including Plato. Plato would have been a young man at the time of Socrates’s death, but in this painting he is the old man sitting at the foot of the bed. Even the face of Socrates is much more idealized than the classical bust that is typically used as a reference portrait of Socrates.  This underlines that Socrates life is projected out of Plato’s mind, whereas the old Plato idealises Socrates. Thus, the painting can rather be seen as an analysis than a failed historic depiction. [ citation needed ]
It was during David’s first trip to Rome that he began to study the depiction of funerary scenes and to draw many examples. Many of David’s major works stem from these funerary drawings.  In this painting, David examines a philosopher’s approach to death. Socrates is stoic and calm because he sees death as a separate, actual realm, a different state of being from life but not an end to being.  In fact, in Phaedo, Socrates seems more concerned with how Crito will handle his death than with his own well-being.  In the painting, Socrates’s gesture shows us that he is still teaching, even in the moment before his death. It is said that this gesture was inspired by the poet André Chénier. 
It shows the death of Greek philosopher Socrates. He was sentenced to die by drinking hemlock. He was sentenced to die because his ideas were against those of Athens. It was also for corrupting the minds of the youth. The painting also shows both Crito and Plato. Crito is sitting sadly at the edge of the bed. Plato is holding the knee of Socrates. Socrates had the choice to go into exile or be sentenced to death by drinking hemlock. Socrates chose death. In this painting, a red-robed disciple hands a confident Socrates the goblet of hemlock. Socrates’ hand pointing to the heavens is his love of the gods and fearless attitude to his death.
The Death of Socrates (French: La Mort de Socrate) is a 1787 oil on canvas painting by the French painter Jacques-Louis David.
The incident didn’t mark the end of Dalí’s dalliances with fascism. He later became a supporter of Spanish dictator Francisco Franco, meeting with the general twice at his palace in Madrid, including to personally deliver a portrait of Franco’s niece.
In the wake of his work with Hitchcock, Walt Disney approached Dalí in 1945 about joining Disney Studio to work on an animated film called Destino, featuring a score by Mexican composer Armando Dominguez. Dalí had drawn up 22 oil paintings and stacks of drawings, and he and legendary Disney designer John Hench created storyboards for the film. But only eight months after they started, the project was shelved for financial reasons, with only 15 seconds of demo reel completed. (Disney and Dalí remained friends despite the hiccup.) In 1999, Roy E. Disney, Walt’s nephew, decided to restart the production. Animators at Walt Disney Studios Paris painstakingly translated Dalí’s original storyboards to create a film faithful to his vision. The 6-minute short was released in 2003.
As he willingly reaches for the cup, he continues to preach to his young followers, illustrating both his respect for the democratically reached decision and his dedication to philosophy. According to Plato, after humbly thanking the Greek god of health for a peaceful death, Socrates “raised the cup to his lips and very cheerfully and quietly drained it.”
Neoclassical artists approached composition with just as much intention as content. Specifically, they strived to achieve balance in their works, culminating in scenes that almost appear to be set on a stage.
We’re quite familiar with The Emperor Napoleon in His Study at the Tuileries, in which the subject stands in an awkward pose, his hand thrust into his waistcoat. And surely know Napoleon at the Saint-Bernard Pass, above. Here, the finger pointing upward takes on an entirely new resonance than it has in The Death of Socrates. It is the gesture not of a man nobly prepared to leave the world behind, but of one who plans to conquer and subdue it under his absolute rule.
We can look to David for both formal mastery and didactic intent. But we should not look to him for political constancy. He was no John Milton—the poet of the English Revolution who was still devoted to the cause even after the restoration of the monarch. David, on the other hand, “could easily be denounced as a brilliant cynic,” writes Michael Glover at The Independent. Once Napoleon came to power and began his rapid ascension to the self-appointed role of Emperor, David quickly became court painter, and created the two most famous portraits of the ruler.