Attribué à Jean-Louis-André-Théodore Géricault

Vente, Paris, Galerie Charpentier, 10 décembre 1957, no. 1;
Vente, Paris, Hôtel Drouot, 23 novembre 1992, no. 5

Géricault dans les collections privées françaises, Paris, Galerie Claude Aubry, novembre-décembre 1964, no. 73

Germain Bazin, Théodore Géricault: étude critique, documents et catalogue raisonné, Wildenstein, Paris, t. VI, 1987, fig. 1933, p. 102

Paper is burnt by ink in some places; especially on the feet of the man (visible on the image). Small hole in the upper right part, visible on the image. some crumpling. Framed.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Géricault souhaitait peindre une oeuvre spectaculaire pour l'inauguration du nouveau Salon du Louvre en 1819 et découvrit l'"Affaire de la Méduse" dans les journaux. Il s'agissait d'un nauffrage maritime peu glorieux que le pouvoir en place tentait d'étouffer. L'artiste choisit d'illustrer le moment où les naufragés, après treize jours de dérive, aperçoivent au loin le bateau qui vient les sauver.

Afin d'être au plus proche de la réalité, Géricault fit de nombreuses recherches. Il fit une maquette du bateau et s'entretint avec les rescapés auxquels il demanda également de poser. Il travailla par ailleurs d'après des restes humains afin d'étudier la couleur exacte de la chair au contact de l'eau salée.

Wishing to paint a spectacular work for the opening of the new Salon du Louvre in 1819, Géricault found the subject of The Medusa Affair in the newspapers. It concerned the story of a rather inglorious shipwreck, which the authorities of the day attempted to hush up. The artist chose to illustrate the moment when the victims, after thirteen days adrift, sighted in the distance the boat that would rescue them.

So as to achieve the greatest possible accuracy, Géricault undertook extensive research. He made a model of the boat, and met with the survivors, whom he also asked to pose for him. He even worked with actual human remains, in order to study precisely the colour of flesh that has come into contact with salt water.