Lot 112
  • 112

Théodore Géricault

Estimate
50,000 - 70,000 GBP
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Description

  • Théodore Géricault
  • Scène antique
  • charcoal, pen and ink, and wash heightened with gouache on paper
  • 20 by 25.5cm., 7⅞ by 10in.

Provenance

Probably, Suzor Collection, Paris
Sale: Ader Picard & Tajan, Hôtel Drouot, Paris, 15th December 1983, lot 11
André Bromberg, Paris (sale: Sotheby's, London, 15th June 1994, lot 49)
François Pereau-Saussine, Paris (purchased at the above sale) 
Acquired by the late owner in February 1998

Exhibited

Berlin, Kupferstichkabinett, Staatliche Museen zu Berlin - Preussischer Kulturbesitz, Linie, Licht und Schatten. Meisterzeichnungen und Skulpturen der Sammlung Jan und Marie-Anne Krugier-Poniatowski, 1999, no. 73, illustrated in colour in the catalogue
Venice, Peggy Guggenheim Collection, The Timeless Eye. Master Drawings from the Jan and Marie-Anne Krugier-Poniatowski Collection, 1999, no. 86, illustrated in colour in the catalogue
Madrid, Museo Thyssen-Bornemisza, Miradas sin Tiempo. Dibujos, Pinturas y Esculturas de la Coleccion Jan y Marie-Anne Krugier-Poniatowski, 2000, no. 101, illustrated in colour in the catalogue
Paris, Musée Jacquemart-André, La Passion du Dessin. Collection Jan et Marie-Anne Krugier-Poniatowski, 2002, no. 89, illustrated in colour in the catalogue
Munich, Kunsthalle der Hypo-Kulturstiftung, Das Ewige Auge - Von Rembrandt bis Picasso. Meisterwerke der Sammlung Jan Krugier und Marie-Anne Krugier-Poniatowski, 2007, no. 84, illustrated in colour in the catalogue

Literature

Germain Bazin, Théodore Géricault. Etude critique, Documents et Catalogue raisonné, Paris, 1990, vol. IV, no. 1067, discussed, p. 11, illustrated p. 96

Condition

The sheet is not laid down and is attached to the mount at the upper and lower edges. There are two tiny punctures in the background in the upper right, and a small tear in the extreme lower edge towards the left and another opposite at the upper edge. Apart from a couple of tiny spots of possible flaking in the gouache pigments in the kneeling man's shoulder and reclining figure's cloak, this work is in good condition. Presented framed and under glass, with the extreme edges of the sheet visible and not covered by the mat.
"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."

Catalogue Note

Géricault's adoption of a neo-classical frieze-like composition in the present work, contrasts with the heightened emotions that are so clearly expressed in the subject matter. The standing female figure on the right wrings the neck of the kneeling male who grasps the arm of the semi-naked figure in bed to kiss, as a fourth figure on the far left whispers in their ear, and gestures imploringly. The drama of the incident is further accentuated by the use of strong light and shadow, the gestures of the figures spot-lit against the muted elements of the bed, curtain and background.

What ever the event actually depicted, the style and subject matter which combine the coolly classical with the passionately romantic parallel Géricault's unsettled frame of mind at the time. Mid-way though 1815 he abruptly changed direction in his work. No longer interested in sketching scenes and vignettes of contemporary life, he returned to depicting subjects from the Antique. Themes from ancient history or mythology prevailed; classical poses, costumes and settings became the rule. However, rather than the works exhibiting a refined classicism, both in suject and execution they express a raw brutality and rough energy. 

The change set Géricault off on track first for his submission for the Prix de Rome the following year, and thereafter for his trip to Italy that autumn. But the conscious lack of finesse that the works exhibit, hint at the more turbulent side of Géricault's character. Indeed, in the expressions of passion, anger and implied duplicity acted out in the present work the artist suggests a shared commonality to his own guilty secret: his illicit relationship at the time with his maternal uncle's wife, Alexandrine-Modeste Caruel.