Theodore Gericault ?, French, etude for the Retreat from Russia, oil on canvas

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A intriguing profile of the idiosyncratic painter known to some as "The Madman." By placing developments in Gericault's art in the historical context of early 19th-century France, this film suggests that Gericault was decades ahead of his contemporaries, and far ahead of the culture that failed to appreciate his gift.

This is the true story of the tragic and twisted life of Théodore Géricault. While immersed in an illicit affair with his Aunt, the Romantic French artist at last finds a topic to match his terrifying darkness. He becomes obsessed with it to the point of madness, whereupon he shaves his head, locks himself in his studio, and drags cadavers from the morgue to feel, taste, touch, and paint - making love to death itself.

A painter of outstanding originality who was considered one of the founders of the French Romantic School, Theodore Gericault left Paris in late 1816, at the age of twenty-five, and spent the next year in Italy, making an extraordinary series of works in a variety of media. This beautiful book studies the work produced by Gericault during this year and assesses the importance of the trip for the rest of his career.Wheelock Whitney provides the most detailed account to date of the biographical circumstances of the Italian stay, paying particular attention to the artistic milieu in which Gericault found himself in Rome. He assesses Gericault's contact with numerous contemporary artists -- and in particular the nature of their influence on him -- presenting him as a product of his own time and place rather than as a solitary genius. The book discusses and reproduces almost every painting and drawing done by Gericault during this period: his copies after the antique and earlier masters; his works on themes of contemporary Italian genre; the works on mythological and erotic themes; and his paramount Italian project -- the series of works on the annual race of riderless horses down the Roman Corso. The book not only sheds light on a hitherto unexamined period of Gericault's life but also illuminates the efforts of a key figure in a transitional period of French art to come to grips with the classical and neoclassical past while embracing the new century's passions for the exotic and the real.

This photographic Greeting Card is created on 300gsm FSC approved card. The result - a stunning reproduction at an affordable price. Actual size 7x5 inch.Greeting card comes with high grade white envelope as standard.This is an automated preview only. Actual Greeting Card design may vary. All products are hand finished by our expert manufacturers and the best crop available will always be selected.

This photographic Greeting Card is created on 300gsm FSC approved card. The result - a stunning reproduction at an affordable price. Actual size 7x5 inch.Greeting card comes with high grade white envelope as standard.This is an automated preview only. Actual Greeting Card design may vary. All products are hand finished by our expert manufacturers and the best crop available will always be selected.

Theodore Gericault (26 September 1791 - 26 January 1824) was a profoundly influential French artist, painter and lithographer, known for The Raft of the Medusa and other paintings. Although he died young, he became one of the pioneers of the Romantic movement. After his first major work, The Charging Chasseur, exhibited at the Paris Salon of 1812, he produced a series of small studies of horses and cavalrymen. After his return to France in 1821, Gericault was inspired to paint a series of ten portraits of the insane, the patients of a friend, Dr. Étienne-Jean Georget, a pioneer in psychiatric medicine, with each subject exhibiting a different affliction.

Theodore Gericault (26 September 1791 - 26 January 1824) was a profoundly influential French artist, painter and lithographer, known for The Raft of the Medusa and other paintings. Although he died young, he became one of the pioneers of the Romantic movement. After his first major work, The Charging Chasseur, exhibited at the Paris Salon of 1812, he produced a series of small studies of horses and cavalrymen. After his return to France in 1821, Gericault was inspired to paint a series of ten portraits of the insane, the patients of a friend, Dr. Étienne-Jean Georget, a pioneer in psychiatric medicine, with each subject exhibiting a different affliction.

This new monograph explores the life and works of Theodore Gericault (1791-1824), whose compelling career and legacy continue to captivate audiences, artists, and critics alike. In her comprehensive survey, Nina Athanassoglou-Kallmyer pays tribute to established Gericault scholarship while reassessing the career of an artist too easily miscast as the archetypal 'tortured soul' of art-historical Romantic mythology. She examines Gericault's career in the context of France under the Restauration, during which Louis XVIII s controversial rule resulted in vigorous popular debate over civic structures, the political process, and even aesthetic categories. Gericault immersed himself in these polemics, taking an intense interest in the fait divers, or 'daily happenings', of his time. The author explores his interest in medical and psychiatric science (as exemplified by a series of portraits of mental patients), his empathy for the poor and dispossessed (the subject of numerous lithographs), and the entrepreneurial spirit that led him to exhibit his epic canvas, the Raft of the Medusa, in London as a commercial venture. Gericault is presented as an artist committed to capturing contemporary life with creative integrity and dramatic verve.Born into a provincial middle-class family, Géricault used an inheritance from his mother's death to pursue his artistic vocation, training first under Vernet and Guerin before spending four years on his own course of independent study. His choice of Renaissance and Baroque masters such as Titian, Caravaggio, and Rubens as models shaped his aesthetic agenda and encouraged him to break away from the Neoclassicism favored by his early tutors. Further influenced by a vogue for modern, military subjects, Gericault presented himself at the 1812 Salon with the dashing Charging Chasseur, a critical success that the artist was unable to repeat when he presented again at the Salon three years later. A period of stylistic experimentation followed: Gericault traveled to Rome to absorb classical examples and strove to develop his 'grand' style. The effort spent in Rome served Gericault well when he returned to France and began work on the Raft of the Medusa, a politically charged project that absorbed the painter in obsessive study for more than a year. In her analysis of this enduring image, Athanassoglou-Kallmyer addresses the perception of Gericault as a tragic figure, drawn by temperament to the depiction of morbid and macabre themes, discussing this painting among others in the context of Romantic taste for the 'Gothic' and its political and artistic implications.Gericault suffered a nervous breakdown in 1819, following the Medusa s disappointing reception at the Salon, and retreated to England, where he abandoned grand projects in favor of lighter, more fashionable work. It was not until 1823, on his deathbed, that Gericault's interest in large-scale work was revived and he produced a wealth of sketches for future compositions. These plans, full of energy and drama, serve to suggest why this immensely talented artist has continued to influence artists from the time of his death to the present.

A painter of outstanding originality who was considered one of the founders of the French Romantic School, Theodore Gericault left Paris in late 1816, at the age of twenty-five, and spent the next year in Italy, making an extraordinary series of works in a variety of media. This beautiful book studies the work produced by Gericault during this year and assesses the importance of the trip for the rest of his career.Wheelock Whitney provides the most detailed account to date of the biographical circumstances of the Italian stay, paying particular attention to the artistic milieu in which Gericault found himself in Rome. He assesses Gericault's contact with numerous contemporary artists -- and in particular the nature of their influence on him -- presenting him as a product of his own time and place rather than as a solitary genius. The book discusses and reproduces almost every painting and drawing done by Gericault during this period: his copies after the antique and earlier masters; his works on themes of contemporary Italian genre; the works on mythological and erotic themes; and his paramount Italian project -- the series of works on the annual race of riderless horses down the Roman Corso. The book not only sheds light on a hitherto unexamined period of Gericault's life but also illuminates the efforts of a key figure in a transitional period of French art to come to grips with the classical and neoclassical past while embracing the new century's passions for the exotic and the real.