The Anger of Achilles is approximately 3 ½ ft. by 4 ¾ ft. in size. There is virtually no empty space seen. The figures of Agamemnon, Achilles, Clytemnestra, and Iphigenia occupy most of the space. There is little background area. In the background that does exist, there are a couple of structures and some hills in the farther distance. Depth is created by the layering of images. Although all four human figures are in the foreground, the women are positioned behind the men. The structures in the background are small in relation to the people. In turn, the hills are smaller still in relation to the structures. The background is hazy or blurry which also gives the impression of depth and distance.
The main focal point is the human figures and the confrontation between the two men. However, there is tension because the eye is also drawn to the actions of the two women. The eye is drawn from one figure to the next by their gazes in different directions, which makes it difficult for the eye to find a resting place.
Bold bright colors are used throughout the piece. The men are clad in the strong colors of red and blue. The women are also in bright colors, but are a bit softer. The bold colors indicate strong emotion in the figures. Warm, bright colors are used in the foreground and colors are used receding to create a blurred background.
Although the right side of the painting is open to the outdoors, a light source is implied to be coming from above. This is evident by the presence of true to life shadows under the figures chins, on Achilles’ forearm and by the shadows in the folds of their clothing. A large shadow is also cast across Achilles’ face, caused by his helmet. The light reflects on Achilles’ helmet creating the impression of a rounded shape.
There are both geometric and organic shapes present. There are geometric motifs on both men’s clothing. The shape of Achilles’ helmet is also somewhat geometric. Most other shapes are organic in nature. The human figures are full and soft. The men look strong and assertive while the women look more timid and beautiful. While all figures are in the foreground, the women are placed just behind the men. This was possibly to have the men in the stronger role and women in the more submissive place. Iphigenia looks slightly smaller than other figures; she is presumably the youngest person in the group.
There are many lines, both actual and implied in The Anger of Achilles. The tilt of Iphigenia’s head and the direction of her gaze form a line that goes down and to the right. The strap across Achilles’ back and his right arm reaching across and back for his sword also form diagonal lines. Another set of diagonal lines is the motif on the right hand side of Agamemnon’s clothing and his right arm and hand that are pointing down and to the left.
Vertical lines are formed by Achilles’ sword and the feathers on his helmet. The folds in the draperies, those in the clothing of Agamemnon, the scepters that are held by Clytemnestra and Agamemnon, and the points on Clytemnestra’s headpiece all also form vertical lines.
All of the figures in this piece are gazing at different points forming many horizontal lines. Achilles is looking to the right toward Agamemnon; Agamemnon is looking to the left back at Achilles. Clytemnestra is also looking horizontally toward Achilles, while Iphigenia’s gaze is more diagonal. The motif on the front of Agamemnon’s clothing, the point of Achilles’ helmet, the wreath of flowers on Iphigenia’s head, and the folds across the back of Achilles’ clothing also form horizontal lines.
Jacques-Louis David worked The Anger of Achilles in oil. Oil paint remains wet longer that many other types of paint. This enables the artist to change colors, textures, or forms of the figures. At times, the painter might even remove an entire layer of paint and begin again.
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