Jean-Louis André Théodore Géricault (French: [ʒɑ̃lwi ɑ̃dʁe teɔdɔʁ ʒeʁiko]; 26 September 1791 – 26 January 1824) was a French painter and lithographer. His best-known painting is The Raft of the Medusa. Despite his short life, he was one of the pioneers of the Romantic movement.
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👉 Théodore Géricault in the context of The Raft of the Medusa
The Raft of the Medusa (French: Le Radeau de la Méduse [lə ʁado d(ə) la medyz]) – originally titled Scène de Naufrage (Shipwreck Scene) – is an oil painting of 1818–1819 by the French Romantic painter and lithographer Théodore Géricault (1791–1824). Completed when the artist was 27, the work has become an icon of French Romanticism. At 491 by 716 cm (16 ft 1 in by 23 ft 6 in), it is an over-life-size painting that depicts a moment from the aftermath of the wreck of the French naval frigate Méduse, which ran aground off the coast of today's Mauritania on 2 July 1816. On 5 July 1816, at least 150 people were set adrift on a hurriedly constructed raft; all but 15 died in the 13 days before their rescue, and those who survived endured starvation and dehydration and practiced cannibalism. The event became an international scandal, in part because its cause was widely attributed to the incompetence of the French captain. Géricault chose this large-scale uncommissioned work to launch his career, using a subject that had already generated widespread public interest. The event fascinated him.
Théodore Géricault's social circles had close family connections with the French navy and were directly involved in France's colonies and France's slave trade. Indeed, one of these relations, a naval officer and a slave owner, died defending France's colonial interests on the coast of west Africa in 1779 not far from the site of the Méduse shipwreck decades later.
In this Dossier
- ⭐ Core Definition: Théodore Géricault
- 👉 Théodore Géricault in the context of The Raft of the Medusa
- Théodore Géricault in the context of Museum of Fine Arts of Lyon
- Théodore Géricault in the context of Envy
- Théodore Géricault in the context of Eugène Delacroix
- Théodore Géricault in the context of The Entombment of Christ (Caravaggio)
- Théodore Géricault in the context of Pierre-Paul Prud'hon
Théodore Géricault in the context of Museum of Fine Arts of Lyon
The Museum of Fine Arts of Lyon (French: Musée des Beaux-Arts de Lyon, pronounced [myze de boz‿aʁ də ljɔ̃] ) is a municipal museum of fine arts in the French city of Lyon. Located near the Place des Terreaux, it is housed in a former Benedictine convent which was active during the 17th and 18th centuries. It was restored between 1988, and 1998, remaining open to visitors throughout this time despite the ongoing restoration works. Its collections range from ancient Egyptian antiquities to the Modern art period, making the museum one of the most important in Europe. It also hosts important exhibitions of art, for example the exhibitions of works by Georges Braque and Henri Laurens in the second half of 2005, and another on the work of Théodore Géricault from April to July 2006. It is one of the largest art museums in France.
Théodore Géricault in the context of Envy
Envy is an emotion which occurs when a person lacks another's quality, skill, achievement, or possession and either desires it or wishes that the other lacked it. Envy can also refer to the wish for another person to lack something one already possesses so as to remove the equality of possession between both parties.
Aristotle defined envy as pain at the sight of another's good fortune, stirred by "those who have what we ought to have". Bertrand Russell said that envy was one of the most potent causes of unhappiness. Recent research considered the conditions under which it occurs, how people deal with it, and whether it can inspire people to emulate those they envy.
Théodore Géricault in the context of Eugène Delacroix
Ferdinand Victor Eugène Delacroix (/ˈdɛləkrwɑː, ˌdɛləˈkrwɑː/ DEL-ə-krwah, -KRWAH; French: [øʒɛn dəlakʁwa]; 26 April 1798 – 13 August 1863) was a French Romantic artist who was regarded as the leader of the French Romantic school.
In contrast to the Neoclassical perfectionism of his chief rival Ingres, Delacroix took for his inspiration the art of Rubens and painters of the Venetian Renaissance, with an attendant emphasis on colour and movement rather than clarity of outline and carefully modelled form. Dramatic and romantic content characterized the central themes of his maturity, and led him not to the classical models of Greek and Roman art, but to travel in North Africa, in search of the exotic. Friend and spiritual heir to Théodore Géricault, Delacroix was also inspired by Lord Byron, with whom he shared a strong identification with the "forces of the sublime", of nature in often violent action.
Théodore Géricault in the context of The Entombment of Christ (Caravaggio)
The Entombment of Christ is an oil on canvas painting by Caravaggio, from 1603–1604. It was created for the second chapel on the right in Santa Maria in Vallicella (the Chiesa Nuova), a church built for the Oratory of Saint Philip Neri. A copy of the painting is now in the chapel, and the original is in the Vatican Pinacoteca. The painting has been copied by artists as diverse as Rubens, Fragonard, Géricault and Cézanne.
Théodore Géricault in the context of Pierre-Paul Prud'hon
Pierre-Paul Prud'hon (French pronunciation: [pjɛʁ pɔl pʁydɔ̃], 4 April 1758 – 16 February 16, 1823) was a French Neo-classical painter and draughtsman best known in his own time for his allegorical paintings and portraits, now for his drawings. He painted a portrait of both of Napoleon's two wives.
He was an early influence on Théodore Géricault. After 1803 he worked so closely with artist Constance Mayer on many paintings, that it is almost impossible to tell where the contribution of one ends and the other begins.