Born inRouen, France, Géricault moved to Paris with his family, probably in 1797, where Théodore's father, a lawyer, worked in the family tobacco business based at theHôtel de Longueville on thePlace du Carrousel. Géricault's artistic abilities were likely first recognized by the painter and art dealerJean-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.[1]
In 1797, Théodore Géricault's Saint Domingue relation Louis Robillard de Peronville arrived in Paris with his family, having fled war and revolution in France's Caribbean colony.[2] In 1802, with France once more at peace, Robillard de Peronville and Pierre Laurent, an engraver, founded theEntreprise De La Gravure De La Galerie du Musée Central des Arts à Paris - a private business partnership producing high-quality engravings of paintings, sculptures, and bas-reliefs in the national museum at the Louvre for a domestic and international clientele.[3] Géricault's family circle embraced theMusée Français, as the enterprise was known, thus providing Géricault with a rare education in the production and history of art during this critical period in his young life.[4]
In 1808, Géricault began training at the studio ofCarle Vernet, where he was educated in the tradition of English sporting art. In 1810, Géricault began studying classical figure composition underPierre-Narcisse Guérin, a rigorous classicist who disapproved of his student's impulsive temperament while recognizing his talent.[5] Géricault soon left the classroom, choosing to study at theLouvre, where from 1810 to 1815 he copied paintings byRubens,Titian,Velázquez andRembrandt.
During this period at the Louvre he discovered a vitality he found lacking in the prevailing school ofNeoclassicism.[5] Much of his time was spent inVersailles, where he found the stables of the palace open to him, and where he gained his knowledge of theanatomy and action of horses.[6]
Géricault's first major work,The Charging Chasseur, exhibited at theParis 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.[7]
He exhibitedWounded Cuirassier at theSalon of 1814, a work more labored and less well received.[7] Géricault in a fit of disappointment entered the army and served for a time in the garrison of Versailles.[6] 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.[8] 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.[9]
A trip toFlorence, Rome, and Naples (1816–17), prompted in part by the desire to flee from a romantic entanglement with his aunt,[10] ignited a fascination withMichelangelo. Rome itself inspired the preparation of a monumental canvas, theRace of the Barberi Horses, a work of epic composition and abstracted theme that promised to be "entirely without parallel in its time".[11] However, Géricault never completed the painting and returned to France.
Géricault continually returned to the military themes of his early paintings, and the series oflithographs 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, isThe 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.[12]Eugène Delacroix, a contemporary painter, posed for one of the dying figures.[13]
The painting ignited political controversy when first exhibited at the ParisSalon 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.[15] He associated much there withCharlet, the lithographer and caricaturist.[6] In 1821, while still in England, he paintedThe Derby of Epsom.
Monument at Géricault's tomb, by sculptorAntoine Étex
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 inpsychiatric medicine), with each subject exhibiting a different affliction.[16] There are five remaining portraits from the series, includingInsane 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.[17] His observations of the human subject were not confined to the living, for some remarkablestill-lifes—painted studies of severed heads and limbs—have also been ascribed to the artist.[18]
Géricault's last efforts were directed toward preliminary studies for several epic compositions, including theOpening of the Doors of the Spanish Inquisition and theAfrican Slave Trade.[19] The preparatory drawings suggest works of great ambition, but Géricault's waning health intervened. Weakened by riding accidents and chronictubercular infection, Géricault died in Paris in 1824 after a long period of suffering. His bronze figure reclines, brush in hand, on his tomb atPère Lachaise Cemetery in Paris, above a low-relief panel ofThe Raft of the Medusa.
^Lüthy, Hans:The Temperament of Gericault,Theodore Gericault, p. 7. Salander-O'Reilly, 1987. In 1818 Alexandrine-Modeste Caruel gave birth to his son (christened Georges-Hippolyte and given into the care of the family doctor who then sent the child to Normandy where he was raised in obscurity). See alsoWheelock Whitney,Géricault in Italy, New Haven/London 1997, and Marc Fehlmann,Das Zürcher Skizzenbuch von Théodore Géricault, Berne 2003.
^See (Riding 2003), p. 73: "Having studied the painting by candlelight in the confines of Géricault's studio, he walked into the street and broke into a terrified run".
Riding, Christine (2003), "The Raft of the Medusa in Britain",Crossing the Channel: British and French Painting in the Age of Romanticism,Tate Publishing
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![Riderless Racers in Rome, 1817 (The Walters Art Museum[20])](/mt/?noimg=&dark=on&url=https%3a%2f%2fen.wikipedia.org%2fwiki%2fFile%3aTh%25C3%25A9odore_G%25C3%25A9ricault_-_Riderless_Racers_at_Rome_-_Walters_37189.jpg)
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