The painting Scene of a Deluge has often been overlooked by art scholars. However, it represents a pivotal shift from Neoclassical to Romantic styles. While it retains some Neoclassical characteristics, the work opts for a more vibrant and dramatic composition. The focus is on humanity's desperate struggle amidst calamity rather than a portrayal of divine retribution, encapsulating a key aspect of Romantic thought. Girodet's artistic choices sparked significant discussions during his exhibitions in 1806, 1810, and 1814.

The artist, Anne-Louis Girodet de Roucy-Tiorson (1767–1824), showcased an early affinity for drawing. At 18, he studied under Jacques-Louis David, a leading figure in Neoclassical art, who had just gained acclaim with The Oath of the Horatii at the 1785 Salon. For four years, Girodet absorbed the principles of Neoclassicism, characterized by idealized beauty and rational design.

His burgeoning talent allowed him to compete for the prestigious Prix de Rome, which he won in 1789. Before departing for Rome, he encountered The Flood by Jean Baptiste Regnault at the Salon, sketching it as he was intrigued by the subject, with intentions to create his interpretation.

Girodet debuted his piece Scene of a Deluge at the 1806 Salon. The artwork depicts a family desperately escaping rising waters, with a man carrying an elderly, possibly disabled, relative while assisting a woman and child. The survival of the group hinges on the man's precarious grip on a branch, highlighting a moment fraught with uncertainty and tension, accentuated by an innovative diagonal composition that evokes a sense of imbalance.

Despite the impending Salon opening on September 16, 1806, Girodet faced a hurdle. The Académie, responsible for the exhibition catalogue, erroneously titled his work Scene of the Flood instead of Scene of a Deluge. This seemingly minor error had significant implications; the term "Flood" would likely conjure biblical associations, a common theme in art of that era.

The Académie des Beaux-Arts was accustomed to depictions of this narrative, often in expansive landscape formats that reflected the vastness of such disasters. Artists typically utilized portrait formats for smaller, symbolic representations. Moreover, the dimensions of Girodet's canvas—4.32 x 3.41 meters—aligned more with historical paintings, which often conveyed mythological or biblical subjects.

Girodet promptly addressed the public regarding the error, clarifying:

> “I took the word ‘deluge’ in the sense of a sudden and partial inundation caused by a convulsion of nature, such as the recent disaster in Switzerland.”

His work, therefore, is not a religious or historical painting but rather a commentary on contemporary catastrophes. The theme of humanity's vulnerability to nature's wrath emerged in art towards the late 18th century, particularly after events like the Lisbon earthquake of 1755, which reshaped European perspectives on human frailty.

Unfortunately, Girodet's letter was not published until September 21, 1806, five days post-Salon opening, leading to misinterpretations by critics who initially viewed the scene as a biblical narrative. These critics found themselves tasked with explaining the supposed divine judgment depicted.

The artist's engagement with the press generated considerable interest and debate, transforming Scene of a Deluge into a focal point of the exhibition.

Many writers who commented before the release of Girodet’s letter remained misled, interpreting the figures as deserving of divine punishment. Some criticized the old man for holding a purse, equating it to greed, while others attributed blame to familial dynamics depicted in the artwork.

Upon the letter's release, criticisms based on biblical interpretations waned, but new critiques emerged. Some viewed the painting as an allegory for human life stages—childhood, adulthood, and old age—while others likened it to Aeneas carrying his father from burning Troy. Various responses emerged regarding the color palette, composition, and thematic appropriateness, with some suggesting the subject matter was too grim for public art.

In 1810, Girodet exhibited again amidst the Prix Décennaux, competing against David's The Intervention of the Sabine Women.

The competition generated significant attention. Ultimately, the jury awarded Girodet the prize for the best history painting of the decade, while David received only an honorable mention. The jury's report noted shortcomings in David's work while praising Girodet's originality and boldness.

This sparked a heated discussion, with some expressing discontent that a former pupil surpassed his master. Yet, while criticisms from 1806 persisted, others began to recognize the merits of Scene of a Deluge, especially its innovative composition, which broke free from traditional forms.

By 1814, during another Salon showcasing both new and older works, the evaluations of Girodet's painting had evolved. Some now hailed it as a significant achievement in French art history, reflecting changes in societal aesthetic values.

The consistent exhibition schedule allowed for tracking shifts in artistic sensibilities. The Neoclassical style, which had dominated since the 1760s, was now being challenged by a new generation of artists. Girodet and his contemporaries sought to transcend Neoclassical constraints, embracing themes of passion and chaos while exploring human suffering caused not by divine retribution but by nature's uncontrollable forces.