Theodore Gericault

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Theodore Gericault

34 artworks

French Romantic painter, draftsman, sculptor and lithographer

Born 1791 - Died 1/26/1824

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  • Images of the Artist
HD

The Raft of the Medusa

1819

Oil on canvas

491 x 716 cms | 193 1/4 x 281 3/4 ins

Musee du Louvre, Paris, France

The Blacksmith's Signboard

Oil on wood

Kunsthalle, Hamburg, Germany

Credit: Carol Gerten Fine Art Index

The Trumpeter of the Lancers of the Guard

1812-1815

Oil on canvas

40.6 x 32.6 cms | 15 3/4 x 12 3/4 ins

The Burrell Collection, Glasgow, United Kingdom

HD

Le Sommeil Des Paysans

Oil on panel

77.5 x 56.5 cms | 30 1/2 x 22 ins

Public collection, ,

HD

An Officer of the Imperial Horse Guards Charging

1814

Oil on canvas

349 x 266 cms | 137 1/4 x 104 1/2 ins

Musee du Louvre, Paris, France

Study for the Charging Casseur

Oil on canvas

43.2 x 40 cms | 17 x 15 1/2 ins

Musee des Beaux-Arts, Rouen, France

Credit: The Art Advantage

HD

Marie De Medici At Pont­De­Ce

Oil on canvas

45.7 x 38.1 cms | 18 x 15 ins

Private collection, ,

HD

Mounted Trumpeters of Napoleon's Imperial Guard

1813-1814

Oil on canvas

60.4 x 49.6 cms | 23 3/4 x 19 1/2 ins

National Gallery of Art, Washington, United States

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Mode

GERICAULT, JEAN LOUIS ANDRE THEODORE (1791-1824), French painter, the leader of the French realistic school, was born at Rouen in 1791. In 1808 he entered the studio of Charles Vernet, from which, in 1810, he passed to that of Guérin, whom he drove to despair by his passion for Rubens, and by the unorthodox manner in which he persisted in interpreting nature. At the Salon of 1812 Géricault attracted attention by his Officier de Chasseurs a Cheval (Louvre), a work in which he personified the cavalry in its hour of triumph, and turned to account the solid training received from Guérin in rendering a picturesque point of view which was in itself a protest against the cherished convictions of the pseudo-classical school. Two years later (1814) he re-exhibited this work accompanied with the reverse picture Cuirassier blessé (Louvre), and in both subjects called attention to the interest of contemporary aspects of life, treated neglected types of living form, and exhibited that mastery of and delight in the horse which was a feature of his character. Disconcerted by the tempest of contradictory opinion which arose over these two pictures, Géricault gave way to his enthusiasm for horses and soldiers, and enrolled himself in the mousquetaires. During the Hundred Days he followed the king to Bethune, but, on his regiment being disbanded, eagerly returned to his profession, left France for Italy in 1816, and at Rome nobly illustrated his favourite animal by his great painting Course des Chevaux Libres. Returning to Paris, Géricault exhibited at the Salon of 1819 the Radeau de la Méduse [The Raft of the Medusa] (Louvre), a subject which not only enabled him to prove his zealous and scientific study of the human form, but contained those elements of the heroic and pathetic, as existing in situations of modern life, to which he had appealed in his earliest productions. Easily depressed or elated, Géricault took to heart the hostility which this work excited, and passed nearly two years in London, where the Radeau was exhibited with success, and where he executed many series of admirable lithographs now rare. At the close of 1822 he was again in Paris, and produced a great quantity of projects for vast compositions, models in wax, and a horse écorché, as preliminary to the production of an equestrian statue. His health was now completely undermined by various kinds of excess, and on the 26th of January 1824 he died, at the age of thirty-three.

Source: Entry on the artist in the 1911 Edition Encyclopedia.