Questão de Língua Inglesa

The young Géricault became fascinated by the scandal around The Medusa. He had developed an interest in painting a macabre scene of murder or execution. This morbid appetite for the gruesome was perhaps not so unusual; many young men have it. But he needed something that would do more than send shivers down spines. He also wanted a theme that had weight and relevance to France herself. The ill fated raft of The Medusa, with its stark political backdrop, was a gift. Géricault was thorough. He devoured every scrap of information he could find on the disaster. In his studio, a dossier was filled to bursting with newspaper clippings beside the published accounts that he bought. He obtained heads, arms, legs and other off cuts of cadavers from a hospital for his research. Before long he had co-opted the help of those survivors of the raft who were in Paris. Géricault talked to these men over and over again so as to have the closest possible understanding of what happened to them. Then, realising the vast scale of the project he was about to commence, he took on a studio on the outskirts of Paris. Like many painters undertaking a formidable project, Géricault was keen to leave behind the world of distractions. In a gesture that had monastic echoes, he shaved his head. With a few exceptions, those who could help the painting along or model for its figures were the only people to pass through the studio doors. The immersion was complete. The serious work began. Aengus Dewar. What They Don’t Tell You About Paintings: Théodore Géricault – The Raft of The Medusa. Internet: <www.aengusart.co.uk> (adapted). The previous text is a passage from an essay on The Raft of The Medusa, a painting by Théodore Géricault inspired by a real event involving the French navy frigate The Medusa and its passengers in the summer of 1816. Considering the preceding text, judge items 5 to 9 and choose the correct option on item 10, which is tipo C.