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皮耶‧貝爾傑:四海為家

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Théodore Géricault
1791 - 1824年
MAN LYING DOWN

來源

Collection Binder, Paris ;
Huntington Hartford, New York ;
Raymond Charmet, Paris, circa1954 ;
Vente, Palais Galliera, Paris, 3 June 1975, n°22 ;
Jean Davray, Paris ;
Galerie de France, Paris ;
Yves Saint Laurent and Pierre Bergé, purchased at the above in 1989

展覽

Paris, Galerie Bernheim-Jeune, Le nu à travers les âges, 1954, n°23 ;
Paris, Galerie Claude Aubry, Géricault dans les collections privées françaises, November - December 1964 (out of the catalogue)

出版

C. Clément, La Gazette des Beaux-Arts, March 1867, p. 221 ;
C. Clément, La Gazette des Beaux-Arts, September 1867, n°8 ;
C. Clément, Géricault : Etude biographique et critique avec le catalogue raisonné de l'oeuvre du maître, Paris, 1868 and 1879, p. 35 ; and p. 279, n°11 in the catalogue raisonné ;
L. Eitner, "Deux oeuvres inconnues de Géricault" in Bulletin des Musées Royaux des Beaux-Arts, June 1953, p. 56, note 3 ;
L. Eitner, Supplément au catalogue raisonné de l'oeuvre de Géricault par C. Clément, Paris, 1973, p. 447, n°11 ;
P. Grunchec, Tout l'oeuvre peint de Géricault, Paris, 1978, pp. 112-113, n°162, illustrated ;
L. Eitner, "The Literature of Art" in Burlington Magazine, March 1980, p. 210 ;
G. Bazin, Théodore Géricault : étude critique, documents et catalogue raisonné, Paris, 1987, vol. II, pp. 268, 274, 361, n°116, illustrated

相關資料

This painting is dated by Clément and Bazin as belonging to the early works. Philippe Grunchec believes it dates from a later period and that it was probably one of the first ideas for le Radeau de la Méduse (Musée du Louvre, Paris) where one of the characters has a similar posture.

Géricault took his subject from a terrible event that took place in 1816: the shipwreck of La Méduse, a royal ship transporting 150 soldiers, of whom only 10 survived. The painter made many preparatory drawings and sketches, studying the best positions and expressions for the painting that he already understood to be a masterpiece, even before he had found its general aspect.

According to Philippe Grunchec, the model used here was Louis-Alexis Jamar. Géricault's young and faithful assistant, Jamar is recognizable due to his prominent shoulder blades and his head of thick black hair (see the illustration below). Here, Gericault shows his remarkable skill in the modeling of the body, using colours and light to show muscles and movement. In the accomplished painting, Jamar is still lying on his stomach, but already dead and foreshortened.

We would like to thank Monsieur Philippe Grunchec for the information he kindly gave us.

皮耶‧貝爾傑:四海為家

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巴黎