Monday, 7 April 2025

Théodore Géricault - part 2

 

Jean-Louis-André-Théodore Géricault is now identified as a pioneer of Romanticism in French painting. He loved horses, and dramatic images of rearing horses feature in his work. He was born at Rouen, and from 1808 trained in Paris with Carle Vernet. But after two years he left Vernet - saying 'One of my horses would have devoured six of his' - to go to the Neo-classican painter Pierre Guérin, with whom his friend Delacroix later studied.

Géricault was influenced by the military subjects of Baron Gros and by works in the Louvre, notably those by Rubens and Renaissance Venetian painters. A visit to Italy in 1816-7 intensified Géricault's appreciation of Michelangelo. On his return to Paris he painted his most famous work, 'The Raft of the Medusa' (Paris, The Louvre), a scene of modern drama on a vast scale and executed in the heroic manner, which he exhibited at the Salon of 1819.


An admirer of English art, like Delacroix, he visited England in 1820-1, returning in a state of poor health. From his last years date an exceptional series of portraits, commissioned by a friend, of the inmates of a lunatic asylum.


For earlier works see part 1 also. This is part 2 of a 7-part series on the works of Théodore Géricault:


c1814-15 Classical Statuary
graphite, pen and brown ink, and brown wash 21.3 x 28.4 cm
The J. Paul Getty Museum, Los Angeles

c1814-15 Classical Nudes (verso of the above)
graphite, pen and brown ink, and brown wash 21.3 x 28.4 cm
The J. Paul Getty Museum, Los Angeles

1814-18 Wounded soldiers in a cart
oil on paper laid down on canvas 33.2 x 31 cm
The Fitzwilliam Museum, Cambridge, UK

c1815-20 Trumpeter of the Hussars
oil on canvas 72 x 58 cm
Clark Art Institute, Williamstown, MA

1816 Satyr and Nymph
carved from rock 29 x 36 cm
Louvre, Paris

c1816-17 Leda and the Swan
watercolour, brown wash, white highlights, black pencil, on brown paper 21 x 28 cm
Louvre, Paris

1816-17 A Warrior holding a shield and sword 
pen and brown ink, brush and brown wash, watercolour, and white gouache over graphite and traces of red chalk
21.6 x 28.6 cm
Metropolitan Museum of Art, New York

c1816-17 Leda and the Swan (verso of the above)
watercolour, brown wash, white highlights, black pencil, on brown paper 21 x 28 cm
Louvre, Paris

1816-17 The Entombment
black chalk, grey and black wash, and white gouache on brown wove paper 16.2 x 22.2 cm
Harvard Art Museums / Fogg Museums, Cambridge, MA

1816-17 Seated Italian Peasant
watercolour, with black crayon and traces of pink gouache over black chalk, on cream wove paper 25.8 x 21.3 cm
Art Institute of Chicago, IL

1816-17 Satyr and nymph entwined
brown wash, white highlights, black pencil 13.5 x 21.3 cm
Louvre, Paris

1816-17 Saint George and the Dragon
graphite pencil on paper 26.2 x 21,3 cm
Museum of Fine Arts, Boston, MA

1816-17 Roman Herdsmen
black chalk, brown wash and white gouache on brown wove paper 20.9 x 28.1 cm
Harvard Art Museums / Fogg Museums, Cambridge, MA

c1816 Nude Warrior with a Spear
oil on canvas 93.6 x 75.5 cm
National Gallery of Art, Washington, DC

1817 The Race of the Riderless Horses
oil and pen and ink on paper laid on canvas 19.8 x 29.1 cm
The J. Paul Getty Museum, Los Angeles

1817 Naked man defeating an Ox
pen and brown ink on paper 24.2 x 30.2 cm
Louvre, Paris

1817 Butchers of Rome
lithograph 17.3 x 24.5 cm (plate)
Metropolitan Museum of Art, New York

1817 Ancient sacrifice
brown wash, white highlights, on oiled paper 28.5 x 42.2 cm
Louvre, Paris

c1817-18 Transport of Fualdès' body
lead pencil on paper 21 x 27.5 cm
Louvre, Paris

c1817-18 The Rescue of a Drowned Man
pen and brown ink on paper 24.4 x 30.2 cm
Metropolitan Museum of Art, New York

c1817-18 The Kidnapping of Fualdès: This drawing, which was believed to be lost, illustrates a news item that caused a great stir at the time: Fualdès, a magistrate under the Empire, was arrested during the night, then assassinated and thrown into the Aveyron. While the judges at this trial concluded that it was a heinous crime, today it is more likely that it was a political conspiracy by the ultras. The artist produced a series of 6 or 7 drawings on this affair, probably with a view to a series of lithographs or to prepare a historical painting. He had given these drawings to his friend Prud'hon, some of which reappeared in 1948, at the sale of the Duke of Trévise's collection.


c1817-18 The Kidnapping of Fualdès
Pen and brown ink, over pencil lines 20.9 x 26.6 cm
 Louvre, Paris

c1817-20 Three Lovers
oil on canvas 22.5 x 29.8 cm
The J. Paul Getty Museum, Los Angeles

c1817 Figure Study (Death of Hector?)
brown ink over graphite on heavy tan wove paper
 28.7 x 23.9 cm
Harvard Art Museums / Fogg Museums, Cambridge, MA

c1817 Drummer Boy Attacked by a Cossack
brush and brown wash, heightened with white over black chalk on brown wove paper 21.8 x 18 cm
 Metropolitan Museum of Art, New York

1818 I Dream of Her in the Crashing Waves
lithograph 34.2 x 27.8 cm
Metropolitan Museum of Art, New York

1818 Evening; Landscape with an Aqueduct:

This work is one of a projected set of four monumental landscapes representing the times of day that Gericault painted in his Paris studio. (Only three were completed.) Conceived as a decorative ensemble, the paintings fuse souvenirs of ruins in the Italian countryside, which the artist had visited in 1816 and 1817, with the grand manner exemplified by past masters Nicolas Poussin and Joseph Vernet. The stormy sky and turbulent mood of this picture exemplify notions of the Sublime and the aesthetic of the emerging Romantic movement.


1818 Evening: Landscape with an Aqueduct
oil on canvas 250.2 x 219.7 cm
Metropolitan Museum of Art, New York

1818 Cart Loaded with Wounded Soldiers
lithograph 37 x 52.3 cm
Metropolitan Museum of Art, New York

1818 Caisson d’artillerie
graphite on ivory wove paper 22.1 x 28.5 cm
Art Institute of Chicago, IL

1818 Boxers: This image represents the popular English sport of boxing: two muscular combatants, in strikingly similar poses, confront one another. The black-and-white medium is used here to accentuate racial difference through stylised symmetries. In a dynamic and dramatic image, Gericault presents rivalry as a conflict between two male "opposites," with a highly charged space between them.


1818 Boxers
lithograph 38.5 x 45 cm
Metropolitan Museum of Art, New York

1815-16 Landscape with Fishermen
graphite, pen and brown ink, blue and brown wash over black chalk on white laid paper 23.2 x 20.7 cm

1818 Landscape with Fishermen
graphite, pen and brown ink, brown and blue wash
22.25 x 20.45 cm
Metropolitan Museum of Art, New York

1818 The Return from Russia: This print centres on two wounded soldiers as they return from the disastrous French invasion of Russia. In 1812 the French army, led by Napoleon, fought its way into Russian territory, beginning a bloody campaign that lasted five months and ended in a decisive loss for the French that decimated the size of the force as well as public faith in the French military.


1818 Retreat from Russial
Lithograph (size not given)
National Gallery of Art, Washington, DC

1818 Portrait of Auguste Brunet
lithograph on cream wove paper 17.4 × 14.8 cm (image)
Harvard Art Museums / Fogg Museums, Cambridge, MA

1818 Laden with Wounded Soldiers
 lithograph in black on cream wove paper 29 x 29.5 cm (image)
 

1818 Mamluk Defending a Wounded Trumpeter
lithograph 34.2 x 27.8 cm (plate)
Metropolitan Museum of Art, New York

1818 Lion Devouring a Horse
lithograph 19 x 30 cm (image)
Metropolitan Museum of Art, New York

1818 The Prince Viceroy saving an Officer taken Prisoner by the Cossacks
black stone, Indian ink, gouache on bistre paper 18.9 x 27 cm
Louvre, Paris

1818 The Boxers
 lithograph on wove paper 35.3 x 41.8 cm (image)
National Gallery of Art, Washington, DC

1818 The Artillery Caisson
lithograph 41.5 x 52.4 cm 

c1818 The Rescue of the Survivors of the Raft of the Medusa
pen and brown ink, over traces of graphite, on tan wove paper 22.5 x 30.1 cm
Art Institute of Chicago, IL



Friday, 4 April 2025

Théodore Géricault - part 1

Théodore Géricault c1822-23 by Horace Vernet

Jean-Louis-André-Théodore Géricault is now identified as a pioneer of Romanticism in French painting. He loved horses, and dramatic images of rearing horses feature in his work. He was born at Rouen, and from 1808 trained in Paris with Carle Vernet. But after two years he left Vernet - saying 'One of my horses would have devoured six of his' - to go to the Neo-classican painter Pierre Guérin, with whom his friend Delacroix later studied.

Géricault was influenced by the military subjects of Baron Gros and by works in the Louvre, notably those by Rubens and Renaissance Venetian painters. A visit to Italy in 1816-7 intensified Géricault's appreciation of Michelangelo. On his return to Paris he painted his most famous work, 'The Raft of the Medusa' (Paris, The Louvre), a scene of modern drama on a vast scale and executed in the heroic manner, which he exhibited at the Salon of 1819.


An admirer of English art, like Delacroix, he visited England in 1820-1, returning in a state of poor health. From his last years date an exceptional series of portraits, commissioned by a friend, of the inmates of a lunatic asylum.


This is part 1 of a 7-part series on the works of Théodore Géricault:


1791-1824 Charioteer and Horseman
graphite on light grey paper 20.3 x 29.2 cm
Metropolitan Museum of Art, New York

1800-24 Modèle
lithograph 21.4 x 27.6 cm (sheet, cropped in here)
Metropolitan Museum of Art, New York

1800-25 Free horse racing in Rome 1800
oil on paper, glued on canvas 45 x 60  cm
Louvre, Paris

1800-25 Flood scene
oil on canvas 97 x 103 cm
Louvre, Paris

1800-25 Bulldog's head
oil on paper glued on canvas 24 x 26.5 cm
Louvre, Paris

1800-25 Alexandre Colin
oil on paper glued on canvas 41 x 32.5 cm
 Louvre, Paris

1800-25 A rifleman, seen from the waist up
oil on canvas 101 x 85 cm
Louvre, Paris

1800-25 Lions lying down
oil on canvas 46 x 56.2 cm
Louvre, Paris

1800-25 Horse racing going left at the start
oil on paper glued on canvas 27 x 41 cm
 Louvre, Paris

1800-25 Horse attacked by a lion
oil on canvas 54 x 73 cm
Louvre, Paris

1800-25 Grey horse at the rack
oil on paper glued on canvas 26 x 34  cm
Louvre, Paris

1800-25 The guillotined
oil on canvas glued on cardboard 45.5 x 37.5 cm
Louvre, Paris

1800-25 Skinned horse
plaster h:24.7 x w:26.5 x d:95 cm
Louvre, Paris

1800-25 Race of mounted horses
oil on paper glued on canvas 27 x 38 cm
Louvre, Paris

1800-25 Portrait of a man, called the Vendéen
oil on canvas 81 x 64.5 cm
Louvre, Paris

1800-25 Wounded cuirassier
oil on paper glued on canvas 46 x 38 cm
Louvre, Paris

1800-25 Two post horses at the door of a stable
oil on canvas 38 x 46 cm
Louvre, Paris

1800-25 The Storm or The Wreck
oil on canvas 19 x 30.5 cm
Louvre, Paris

1808? Soldier Mounting a Horse
(attributed to Gericault)
black chalk on paper 22.6 x 29.1 cm
Metropolitan Museum of Art, New York

1808-12 Scene of the Plague
black chalk with white watercolour and black wash on brown paper 29.8 x 49 cm
 Museum of Fine Arts, Boston, MA

1808-12 Ancient chariot
(medium not given) 63 x 79 cm
Louvre, Paris

1810-13 Turkish horse in a stable
oil on paper glued on canvas 35 x 25 cm
Louvre, Paris

1810-13 Spanish horse in a stable
oil on canvas50 x 61 cm
 Louvre, Paris

1810-15 Diana the Huntress, after the so-called Diana of Versailles
black stone or graphite, watercolour or oil paint 28.6 x 21.4 cm
Louvre, Paris

1812 Officer of the Mounted Hunters of the Imperial Guard, charging
oil on canvas 349 x 266 cm
Louvre Museum, Paris

1812 Officer of the mounted chasseurs of the Imperial Guard charging
oil on paper glued on canvas 53 x 79  cm
Louvre, Paris

1813-14 A Horse frightened by Lightning
oil on canvas 48.9 x 60.3 cm
The National Gallery, London

1812-14 Studies of lion, compositional group figure study, two caricature head studies
graphite on paper 15.2 x 10.6 cm
The J. Paul Getty Museum, Los Angeles

1812-14 Seated lion, head of lioness
graphite on paper 10.6 x 15.2 cm
The J. Paul Getty Museum, Los Angeles

1812-14 Equestrian portrait of Jérôme Bonaparte, after Antoine-Jean Gros
oil on canvas 48 x 38 cm
Louvre, Paris

1813-14 Sketches of a Horse
graphite, on cream wove paper 17.2 x 23.1 cm
Art Institute of Chicago, IL

1813-14 Sheet of Sketches: Riders, Mermaids and Two Portraits of Young Men
graphite on tan wove paper, perimeter mounted on ivory laid paper
17 x 22.9 cm
Art Institute of Chicago, IL

1813-14 Sheet of Sketches: Lancers, Struggling Nudes, other Subjects
pen and iron gall ink with black crayon, on tan wove paper 17.4 x 23 cm
Art Institute of Chicago, IL

1813-14 Mounted Trumpeters of Napoleon's Imperial Guard
oil on canvas 60.4 x 49.6 cm
National Gallery of Art, Washington, DC

1813-14 Five Sketches for a Cavalry Battle
pen and brown ink with brush and brown wash, over graphite cream wove paper 17.2 x 22.8 cm
Art Institute of Chicago, IL

1813-14 Studies
 graphite on cream wove paper 17.4 x 23.2 cm
Art Institute of Chicago, IL

1813-14 Sketches of Men’s Faces, Horses’ Muzzles, and Mounted Soldiers
graphite and black crayon with pen and brown ink on tan wove paper 17.4 x 23 cm
Art Institute of Chicago, IL 

1813-14 Sketches of Heads
graphite, on tan wove paper, perimeter mounted on ivory laid paper 17.3 x 23 cm
 Art Institute of Chicago, IL

1813-14 Sketches of Decorative Landscape and Animal Compositions
graphite on cream wove paper, perimeter mounted on ivory laid paper 17.3 x 23 cm
Art Institute of Chicago, IL

1813-14 Sketches of a Wooded Site, Dogs and Pheasants in Landscape
graphite with brush and brown wash, on cream wove paper
17.3 x 23 cm
Art Institute of Chicago, IL

1814 Stableboy Grooming a Horse
graphite with brush and brown wash, on ivory laid paper
27.5 x 21.1 cm
Art Institute of Chicago, IL

1814 study for Wounded Cuirassier leaving the fire
oil on panel 38.2 x 32.1 cm
Museum of Fine Arts, Boston, MA 

1814 Wounded cuirassier leaving the fire
oil on canvas 358 x 294 cm
Louvre, Paris

1814-15 White horse head
oil on canvas 65.5 x 82.2 cm
Louvre, Paris