Théodore Géricaultフランス, 1791–1824Arabisch volbloedpaard
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不明
『Arabisch volbloedpaard』は今どこに？ 所蔵: アムステルダム国立美術館, アムステルダム. 不明.
アムステルダム, オランダ
所蔵者は判明していますが、現在展示中かどうかは不明です。
- 出典
- 美術館
作品について
美術館の言葉で — オランダ語
Een Arabisch volbloedpaard wordt vastgehouden door een man met tulband in de woestijn. In de verte een tent met enkele personen.
アムステルダム国立美術館
作品データ
- 収蔵番号
- RP-P-1969-122
描かれているもの
カタログ収録
出典
- アムステルダム国立美術館
- 画像： アムステルダム国立美術館 — public domain
その頃、Théodore Géricaultの人生では
生涯をすべて見る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.
