Théodore GéricaultFrance, 1791–1824Fighting Horses
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Cleveland Museum of Art
Cleveland, États-Unis
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À propos de l’œuvre
Théodore Géricault turned away from traditional subjects such as mythology and the Bible in favor of modernity, emotion, and drama. He was fascinated by the power and physical beauty of horses and depicted them often. Géricault himself was an avid rider and his paintings and drawings on this theme are characterized by vigor and movement. In this watercolor, he focused on a conflict, in which a groom struggles to separate a pair of fighting horses—a scene that appeared only a few times throughout his many interpretations of similar subjects. A sketchbook, now in the collection of the Art Institute of Chicago, shows that the artist carefully studied the animals, including the kicking white stallion at center, in graphite before beginning this finished work.
Cleveland Museum of Art
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- Numéro d’inventaire
- 1929.13
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- Cleveland Museum of Art: the museum's own open data · obtenue il y a 6 jours
- Image : Cleveland Museum of Art — Museum open access
Pendant ce temps, chez Théodore Géricault
La vie entière1817–1818
Investigating the disaster: survivors, a model raft, morgues
Géricault re-created the event by studying the available materials and meeting witnesses: he got to know Corréard and Savigny, a carpenter from the Méduse made a scale model of the raft for him, and the artist modelled wax figures himself. He visited hospital morgues, drawing dead heads, emaciated bodies and severed limbs, and the preparation ended with a trip to Le Havre, where he painted studies of sea and sky.
c. 1818 – 1819
Delacroix poses for a dying figure
The painter Eugène Delacroix posed for one of the dying figures in “The Raft of the Medusa”.
1819
“The Raft of the Medusa” sparks a political controversy at the Salon
When first exhibited at the Paris Salon of 1819, “The Raft of the Medusa” ignited political controversy: it indicted a corrupt establishment, in which the captain had left the crew and passengers to die, but also dramatized the eternal struggle of man against nature.
12 June – 30 December 1820
London: 50,000 visitors and 20,000 francs
The entrepreneur Bullock exhibited “The Raft of the Medusa” in London from 12 June to 30 December 1820; about 50,000 people saw it, critics called it a masterpiece, and its author was compared to Michelangelo and Caravaggio. Géricault was entitled to a third of the ticket receipts and received 20,000 francs.
1820–1821
London: urban poverty and friendship with Charlet
In London Géricault witnessed urban poverty, made drawings of his impressions and published lithographs based on these observations, free of sentimentality. He associated much there with Charlet, the lithographer and caricaturist.
1821–1824
Illness and falls from horses after his return from England
After returning to Paris from England Géricault was often ill, and his condition was made worse by several falls during horseback rides.
