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The Two Sisters
Gallery
See also
Léonce Bénédite
List of Orientalist artists
Orientalism
Notes
References
Fisher, Jay M. (1979). Théodore Chassériau: Illustrations for Othello. Baltimore: The Baltimore Museum of Art. ISBN 0-912298-50-2.
Guégan, Stéphane; Pomarède, Vincent; Prat, Louis-Antoine (2002). Théodore Chassériau, 1819-1856: The Unknown Romantic. New Haven and London: Yale University Press. ISBN 1-58839-067-5.
Miller, Peter Benson (2004). "By the Sword and the Plow: Théodore Chassériau's Cour des Comptes Murals and Algeria," The Art Bulletin vol. 86, no. 4 (Dec. 2004), pp. 690–718.
Prat, Louis-Antoine. n.d. Theodore Chassériau, 1819-1856: dessins conserves en dehors du Louvre. Paris: Galerie de Bayser [1989?]. OCLC 800724906.
Rosenblum, Robert (1989). Paintings in the Musée d'Orsay. New York: Stewart, Tabori & Chang. ISBN 1-55670-099-7.
Rosenthal, Donald A. "Chassériau, Théodore". Grove Art Online. Oxford Art Online. Oxford University Press. Web.
Further reading
Bénédite, Léonce (1931). Théodore Chassériau: sa vie et son œuvre, Paris: Les Éditions Braun. OCLC 929584128.
Bouvenne, Aglaus (1884). Théodore Chassériau: Souvenirs et Indiscrétions, A. Detaille, Paris.
Bouvenne, Aglaus. Théodore Chassériau : Souvenirs et Indiscrétions (1884), new edition by Les Amis de Théodore Chassériau, 2012 (French language), 2013 (Spanish language).
Chevillard, Valbert (1893). Un peintre romantique: Théodore Chassériau, Paris.
Chevillard, Valbert (1898). "Théodore Chassériau" in Revue de l'art ancien et moderne, no. 3, March 10, 1898.
La Chronique des arts et de la curiosité, no. 9, February 27, 1897.
Focillon, Henri (1927). "La peinture au XIXe: Le retour à l'antique" in Le Romanticisme, Paris.
Gautier, Théophile. "L'Atelier de feu Théodore Chassériau" in L'Artiste, no. 14, March 15, 1857.
Goodrich, Lloyd (1928). "Théodore Chassériau", The Arts 14.
d'Hérouville, Xavier (2016). L'Idéal moderne selon Charles Baudelaire & Théodore Chassériau, L'Harmattan, Paris.
Jingaoka, Megumi; Pomarède, Vincent; Nouvion, Jean-Baptiste; Guégan, Stéphane; Okasaka, Sakurako; Nakatsumi, Yuko (2017). Théodore Chassériau : Parfum exotique, [exhibition catalogue], The National Museum of Western Art (Japan).
Laran, Jean (1913, 1921). Théodore Chassériau, Paris.
Montesquiou, Robert de (1898). Alice et Aline, une peinture de Théodore Chassériau, Ed. Charpentier et Fasquelle, Paris.
Nouvion, André-Pierre (2007). Trois familles en Périgord-Limousin dans la tourmente de la Révolution et de L'Empire : Nouvion, Besse-Soutet-Dupuy et Chassériau, Paris.
Nouvion, Jean-Baptiste; Marianne de Tolentino (2014). Chassériau Correspondance oubliée. Les Amis de Théodore Chassériau edition, Paris.
Peltre, Christine (2001). Théodore Chassériau. Paris: Gallimard. ISBN 207011564X.
Prat, Louis-Antoine (1988). Dessins de Théodore Chassériau: 1819–1856. Paris: Ministère de la culture et de la communication, Editions de la Réunion des musées nationaux. ISBN 2711821382.
Renan, Ary (1897). Les Peintres orientalistes, Galerie Durand-Ruel.
Sandoz, Marc (1974). Théodore Chassériau 1819–1856: catalogue raisonné des peintures et estampes. Paris : Arts et Métiers Graphiques. ISBN 2700400038.
Teupser, Werner. Theodore Chasseriau, Zeitschrift für Kunst.
Vaillat, Léandre (August 1913). "L'Œuvre de Théodore Chassériau", Les Arts.
Vaillat, Léandre (1907). "Chassériau", L'Art et les Artistes.
External links
Media related to Théodore Chassériau at Wikimedia Commons
Media related to Paintings by Théodore Chassériau at Wikimedia Commons
Website of the 'Amis de Théodore Chassériau' (France)
Website of the Institut de France (Académie des Beaux-Arts) - Prix de Gravure Chassériau - Last prize was given in 2011 to Dominique Vaillier.
Famille Chasseriau, Généalogie d'Haiti et de Saint-Domingue
Théodore Chassériau at Find a Grave
Jean-Louis André Théodore Géricault (French: [ʒɑ̃lwi ɑ̃dʁe teɔdɔʁ ʒeʁiko]; 26 September 1791 – 26 January 1824) was a French painter and lithographer, whose best-known painting is The Raft of the Medusa. Despite his short life, he was one of the pioneers of the Romantic movement.
Early life
Born in Rouen, France, Géricault moved to Paris with his family probably in 1797, where Théodore's father obtained employment in the family tobacco business based at the Hôtel de Longueville on the Place du Carrousel. Géricault's artistic abilities were likely first recognized by the painter and art dealer Jean-Louis Laneuville. Laneuville lived at the Hotel de Longueville alongside Jean-Baptiste Caruel, Théodore Géricault's maternal uncle, and other members of the extended Géricault family. In 1808, Géricault began training at the studio of Carle Vernet, where he was educated in the tradition of English sporting art by Carle Vernet. In 1810, Géricault began studying classical figure composition under Pierre-Narcisse Guérin, a rigorous classicist who disapproved of his student's impulsive temperament while recognizing his talent. Géricault soon left the classroom, choosing to study at the Louvre, where from 1810 to 1815 he copied paintings by Rubens, Titian, Velázquez and Rembrandt.
During this period at the Louvre he discovered a vitality he found lacking in the prevailing school of Neoclassicism. Much of his time was spent in Versailles, where he found the stables of the palace open to him, and where he gained his knowledge of the anatomy and action of horses.
Success
Géricault's first major work, The Charging Chasseur, exhibited at the Paris Salon of 1812, revealed the influence of the style of Rubens and an interest in the depiction of contemporary subject matter. This youthful success, ambitious and monumental, was followed by a change in direction: for the next several years Géricault produced a series of small studies of horses and cavalrymen.
He exhibited Wounded Cuirassier at the Salon in 1814, a work more labored and less well received. Géricault in a fit of disappointment entered the army and served for a time in the garrison of Versailles. In the nearly two years that followed the 1814 Salon, he also underwent a self-imposed study of figure construction and composition, all the while evidencing a personal predilection for drama and expressive force. The studies and finished drawings from this time attest to Géricault's immersion in military and Napoléonic subjects in his early career, fascination with the anatomy and movement of horses, and attraction to Oriental subjects, particularly scenes of mounted warriors.
A trip to Florence, Rome, and Naples (1816–17), prompted in part by the desire to flee from a romantic entanglement with his aunt, ignited a fascination with Michelangelo. Rome itself inspired the preparation of a monumental canvas, the Race of the Barberi Horses, a work of epic composition and abstracted theme that promised to be "entirely without parallel in its time". However, Géricault never completed the painting and returned to France.
The Raft of the Medusa
Géricault continually returned to the military themes of his early paintings, and the series of lithographs he undertook on military subjects after his return from Italy are considered some of the earliest masterworks in that medium. Perhaps his most significant, and certainly most ambitious work, is The Raft of the Medusa (1818–19), which depicted the aftermath of a contemporary French shipwreck, Méduse, in which the captain had left the crew and passengers to die.
The incident became a national scandal, and Géricault's dramatic interpretation presented a contemporary tragedy on a monumental scale. The painting's notoriety stemmed from its indictment of a corrupt establishment, but it also dramatized a more eternal theme, that of man's struggle with nature. It surely excited the imagination of the young Eugène Delacroix, who posed for one of the dying figures.
The classical depiction of the figures and structure of the composition stand in contrast to the turbulence of the subject, so that the painting constitutes an important bridge between neo-classicism and romanticism. It fuses many influences: the Last Judgment of Michelangelo, the monumental approach to contemporary events by Antoine-Jean Gros, figure groupings by Henry Fuseli, and possibly the painting Watson and the Shark by John Singleton Copley.
The painting ignited political controversy when first exhibited at the Paris Salon of 1819; it then traveled to England in 1820, accompanied by Géricault himself, where it received much praise.
While in London, Géricault witnessed urban poverty, made drawings of his impressions, and published lithographs based on these observations which were free of sentimentality. He associated much there with Charlet, the lithographer and caricaturist. In 1821, while still in England, he painted The Derby of Epsom.
Later life
After his return to France in 1821, Géricault was inspired to paint a series of ten portraits of the insane. These were the patients of a friend, Dr. Étienne-Jean Georget (a pioneer in psychiatric medicine), with each subject exhibiting a different affliction. There are five remaining portraits from the series, including Insane Woman.
The paintings are noteworthy for their bravura style, expressive realism, and for their documenting of the psychological discomfort of individuals, made all the more poignant by the history of insanity in Géricault's family, as well as the artist's own fragile mental health. His observations of the human subject were not confined to the living, for some remarkable still-lifes—painted studies of severed heads and limbs—have also been ascribed to the artist.
Géricault's last efforts were directed toward preliminary studies for several epic compositions, including the Opening of the Doors of the Spanish Inquisition and the African Slave Trade. The preparatory drawings suggest works of great ambition, but Géricault's waning health intervened. Weakened by riding accidents and chronic tubercular infection, Géricault died in Paris in 1824 after a long period of suffering. His bronze figure reclines, brush in hand, on his tomb at Père Lachaise Cemetery in Paris, above a low-relief panel of The Raft of the Medusa.
Works
Les Monomanes (Portraits of the Insane)
Source:
See also
Joseph (art model), remembered for his professional relationship with Géricault
References
Works cited
Ciofalo, John J. (2009), The Raft: A Play about the Tragic Life of Théodore Géricault
Eitner, Lorenz (1987), "Theodore Gericault", Introduction, Salander-O'Reilly
Whitney, Wheelock (1997), Gericault in Italy, New Haven/London: Yale University Press
Riding, Christine (2003), "The Raft of the Medusa in Britain", Crossing the Channel: British and French Painting in the Age of Romanticism, Tate Publishing
Further reading
French painting 1774–1830: the Age of Revolution. New York; Detroit: The Metropolitan Museum of Art; The Detroit Institute of Arts. 1975. (see index)
External links
Media related to Théodore Géricault at Wikimedia Commons
Chisholm, Hugh, ed. (1911). "Géricault, Jean Louis André Théodore" . Encyclopædia Britannica. Vol. 11 (11th ed.). Cambridge University Press. p. 768.
The Zurich Sketchbook by Théodore Géricault
Géricault Life Magazine
Théodore Géricault in American public collections, on the French Sculpture Census website
Exhibition catalogue, Théodore Géricault: Drawings, Watercolors, and Small Oils From Private Collections, Jill Newhouse Gallery, 9 June - 30 July 2014
Jacopo Robusti (late September or early October 1518 – 31 May 1594), best known as Tintoretto ( TIN-tə-RET-oh; Italian: [tintoˈretto], Venetian: [tiŋtoˈɾeto]), was an Italian Renaissance painter of the Venetian school. His contemporaries both admired and criticized the speed with which he painted, and the unprecedented boldness of his brushwork. For his phenomenal energy in painting he was termed il Furioso (Italian for 'the Furious'). His work is characterised by his muscular figures, dramatic gestures and bold use of perspective, in the Mannerist style.
Life