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Frontcoverand frontispiece: Detailsof Evening: Landscape with an Aqueduct (no. 1l)

THEMETROPOLITAN MUSEUM OFARTBULLETIN-Winter lggo/g

Volume XLVIII, Number3 (ISSN0026-I52I)
Publishedquarterly (C) lggo by The Metropolitan Museumof Art, looo FifthAvenue,New York, N.Y. 10028-0198. Second-classpostagepaid at New York, N.Y.,and AdditionalMailingOffices.TheMetropolitan Museum ofArtBulletinis providedas a benefitto Museummembersand availableby subscription. Subscriptions $22.00 a year.Single copies $5.95. Four weeks'notice required for change of address. POSTMASTER: Send addresschangesto Membership Department, The Metropolitan Museumof Art, ^ looo FifthAvenue,New York, N.Y.10028-0198. Backissues availableon microfilmfromUniversity Microfilms,3oo N. ZeebRoad, Ann Arbor, Mich. 48106. VolumesI-XXXVII (1905-1942) availableas a clothboundreprintset or as individual yearlyvolumesfromAyerCompanyPublishers,Inc., ,o Northwestern Drive#lo, Salem, N.H. o307g, or fromthe Museum,Box 700, MiddleVillage,N.Y.11579. General Managerof Publications: John P. O'Neill. Editorin Chief of the Bulletin: Joan Holt. AssistantEditor: Tonia Payne.Production: MatthewPimm. Design:EmsworthDesign Inc. Colorand blackand white photography suppliedby the institutionslistedin the captionsaccompanying the illustrations, exceptas noted. Photography forworksfromMusee du Louvreand Musee Bonnatsupplied by Documentation Photographique de la Reuniondes Musees Nationaux,Paris.Othersourcesin the Introduction: figs. 5, 26, Phototheque,Paris;figs. 7, 27, 28, The WatsonLibraIy, MMA;figs. 12, 23, 29-32, MMAArchives; fig. 22 and inside backcover,AndrewHarkins;fig. 24, RobertMcD. Parker; fig. 25, J. Guillot,Connaissancedes Arts.Othersourcesin the cataloguesection:no. l o, Phototheque,Paris;fig. 1od,The WatsonLibraty, MMA;fig. 1oe, FredeticJaulmes; fig. 1lb, Alinati;figs. 11c, 1sa, Lauros-Giraudon.

Note: It has recently beendemonstrated that Gericault wrotehis name withoutan accenton the e, even thoughothersduringhis lifetimespelledit Gericault, thespellingconsistently useduntilnow.In thispublicationGericault's originalorthography has beenfollowed. Page numbers afterquotations in the textreferto worksby theseauthorslistedin the Bibliography.

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Director's Note

In 1953,whenNoon:Landscapewith a RomanTombandEvening:Landscapewith an Aqueduct wereexhibited forthefirsttime,scholars hailedthereappearance ofthese twopictures as themostimportant discovery in Gericault studies during thiscentury. Lorenz Eitner thena youngspecialist on Gericault, nowa greatauthorityimmediately published a longarticle on thetwoextraordinary landscapes, then thought to be theonlyexamples of theirkindbythisartist. In 1959,however, Morning: Landscapewith Fishermen appeared in a Parissalesroom,having beenout ofviewforexactly onehundred years.Sincethen,a number of intriguing factshave surfaced anda greatmanyspeculations havebeenmadeabout thesethreepictures, including theprovocative suggestion justlastyearthata previously unknown fourth picture, representing Night,hasbeenin a SouthAmerican collection since1949. Tocelebrate theMuseum's acquisition in 1989ofEvening:Landscapewith an Aqueduct, we areuniting publicly, forthefirsttime,thethreeknown panelsof the series,theTimesof Day,in an exhibition running fromNovember 6, lC}90, through January 13,1991. GaryTinterow, EngelhardAssociate CuratorofEuropean Paintings,hasspentthelastyearin thepursuit of information whether it be in provincial archives orin thememories of private collectors thatmightshedlighton these glorious butenigrnatic pictures. He reveals thefruits of hisresearch in thisBulletin, whichsetsforththehistory of theselandscapes, aswellas thatof Gericault's briefand tempestuous career.

Philippe de Montebello Director

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Acknowledgments

of atthebeginning confessed Clement Charles thisstudy," I commenced "Trembling, life andwork of Gericault's raisonne andcatalogue biography his excellent in withcorrections, in serialformin the 1860S andthenrepublished, (published notes,andthe reminiscences fastidious memory, witha remarkable 1879). Equipped Clement was intimately, stillliving,whoknewGericault of artists, of a number onlyfiftyyearsafterGericault's writing suitedto histask.If he trembled, eminently No yearslater,canonlyquake. one hundred writing death,novicessuchas myself, no oeuvre, as enigmatic; remains stature of Gericault's artist nineteenth-century its despite no chronology, of attribution; its smallsize,so rifewithproblems despite when precisely not know We still do documented. so inadequately span, too-brief of the insane,of seriesof portraits his remarkable painted Gericault his whyhe painted outof ten arelost,nordowe knowwithcertainty whichfilve of the paintings the mostextraordinary limbsandheads,perhaps studiesof severed of promising anda number research Despitea yearof intensive century. nineteenth thethreeenormous painted leads,we stilldo notknowwhyorforwhomGericault this completed he actually norwhether of thisstudy, thatarethe subject landscapes wouldbe Nzght.But, panelthatlogically series,theTimesof Day,witha fourth we arenow namedbelow, of the individuals participation to the unsparing thanks answer to the a definitive Although muchcloserto a glimpseof the elusivetruth. (ifthere of the commission orthe nature patron of the original of the identity question neverwillbe),at leastwe no longerneed (andperhaps wasone)wasnotforthcoming of thesepaintings the history regarding heldassumptions bythepreviously be blinded proved false. has been notion forin thelastfewmonthsalmostevery de Philippe the director, of the Museum, go to theTrustees Firstthanks of of the Department Chairman Fahy,JohnPope-Hennessy andEverett Montebello, landscape of the magnificent of the acquisition fortheirsupport Paintings, European wouldnothavebeen Theexhibition celebrate. andpublication thatthisexhibition andChristoph vonSonnenburg of Hubertus participation thegenerous without possible andTherese Munich, of the NeuePinakothek, andcurator director Heilmann, of the Museedu Petit andcurator director de Hureaux, andAlainDaguerre Burollet director of the assistant Tarapor, of Mahrukh the support Palais,Paris.Without Sincere thanksare therewouldbe no exhibition. Museum, quitesimply Metropolitan in theircare. shared works whogenerously andcollectors to the curators extended loans. fortheirhelpin securing Maisonarethanked andStefanie DianeUpright rehearsed whileI endlessly listenedpatiently of individuals A greatnumber andeach heroiclandscapes, of Gericault's the history surrounding the mysteries insight,orinformation to the something bywayof observation, contributed wereJeanSutherland on thesepages.Amongthe mostpatient presented outcome Rishel,andJeremy Joseph Pantazzi, Michael PeterGalassi, Boggs,PhilipConisbee, andAnne Michel, Regis Henri Loyrette, Bellenger, In France,Sylvain Strick. DavidKiehland At the Metropolitan, helpful. been more not have could Rocquebert Etienne At Sotheby's, questions. innumerable answered expertly JamesParker willingly. all assisted andScottSchaefer NancyHarrison, Dollar, Benjamin Breton, filles. hercopious shared & Co.,Inc.,liberally AyWhangHsiaof Wildenstein with generous wasexceptionally of Gericault, a longtimestudent Whitney, Wheelock

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AlexandreColin (French,1798-1875) Gericault, aftera Portrait of I8I6 (detail), 1824 Lithograph, The Metropolitan Museumof Art, HarrisBrisbaneDick Fund, 1926, 26.75.3

his time,ideas,andarchives. Lorenz Eitner, thedoyen of Gericault scholars, was exceedingly tolerant of a trespasser in hisvineyard andgenerous withthefruits of his knowledge. A specialcategory of thanks is dueRobert McD.Parker, whoconducted extensive research in Pariswiththe determination of a clever detective. He wishesto thankBrigitte Laineof theArchives de Paris,Michelle Hermant of theArchives de l'Aisne, Claude Jacir of the documentation centerof the Museede la Legion d'Honneur, andAnne-Marie de Bremof theMaison Renan-Scheffer. He alsothanks DeniseAime-Azam andJacqueline Dubaut fortheirconversations. NatLeebandthe Comtede Saint-Leon granted me longandfascinating interviews, forwhichI am mostgrateful. Withhercharacteristic dedication, AnneM. P.Norton coordinated thisexhibitionandcomposed theprovenances, exhibition histories, andbibliographical references foreachwork.As always, sheElrst suggested a number of ideasthatI have cometo thinkof as myown.Shewouldliketo thankSylvain Laveissiere forhis suggestion to lookforNatLeeb'ssource in Chasseriau's work.SusanAlysonStein contributed manyvaluable insights. Gretchen Woldpatiently andintelligently sifted through mountains of information, andIsabelle de la Bruyere cheerfully performed anynumber of chores. Last,I wouldliketo thankKatria Czerwoniak, forwhomno book,no matter howobscure, wasbeyond thereachof theinterlibrary loanservice, andJamesF.Joseph, whopatiently waitedforme to Elnish thisproject. Thisstudy is dedicated to the memory of fourgoodfriends GuyBauman, Eric Klarer, PeterKrueger, andShiriLedor .who,likeGericault, diedtragically in their thirties.

GT

Chronology

Thedocumentationfor thedatescitedheremay befound in Germain Bazin'se*cellent compilation of records and earlyreminiscences of theartist's life. See Bibliography, Bazin S987a,b. 1790 February I6 GeorgesNicolas Gericault,a forty-seven-year-old lawyer,marriesLouise Jeanne MarieCaruel, thirty-eight,in Rouen. September 26 Birthof Jean Louis AndreTheodoreGericault,in Rouen. He is their only child.

1791

1795- 1796 The Gericaultfamilymovesto Paris. 806 807 Gericaultis tutoredby MonsieurCastel.Afterward he enrolls at the foremostboys'schoolin Paris,the LycFeImperiale. May 9 The artist'smaternaluncle, Jean-BaptisteCaruel,fifty,marriesAlexandrine-Modeste de Saint-Martin, twenty-two.It is his secondmarriage,her first. Marchz5 beath of the artist'smother,who bequeathshim a sizableincome. He leaves school. November Gericaultenrollsin the studioof CarleVernet. 810 or 1811Gericaultenrollsin the studioof PierreNarcisseGuerinat the Ecole des Beaux-Arts. 812 AprilIO Death of the artist'smaternalgrandmother, who leaves Gericaultone-quarterof a large estate. November I Openingof the Paris Salon, where GericaultexhibitsOtficier de chasseurs a chevalde la garde chargeant,The ChargingChasseur (fig. 1),for which he wins a gold medal. 814 July6 Gericaultvolunteersfor the cavaltyof the king'smusketeers. November I Openingof the Paris Salon, where Gericaultagain exhibitsThe ChargingChasseur, along with Artillery Exercise on the Grenelle Plain (nowlost) and Le Cuirassier Blesse,The Wounded Cuirassier (fig. 2). His paintingsare criticized. 814- 1815 Entersinto a romanticliaison with his aunt,Alexandrine-Modeste Caruelde Saint-Martin. 815 816 October I Gericaultresignsfromthe musketeers. MarchI8 Gericaultcompetesfor the Prixde Rome. He passesthe firsttest but fails the second.He decidesto travelto Italyat his own expense.

808

816

Spring At the Chateaude Grand-Chesnay, the house of his uncle and aunt, Gericaultworkson a series of decorativelandscapes(see no. 1, p. 34 in cataloguesection). AugustIf Gericaultreceiveshis passportfor Italyand leaves in September. September 8 The fWlrst reportof the shipwreckof the Medusaoff the coast of Africais publishedin a Paris newspaper.

817

September GericaultleavesRome for Parisand, on the wayback, stopsin Florence,wherehe meets Ingres. November Correard and Savigny'sexpose of the shipwreckof the Medusais published.

8 18

Februaty24 The enormouscanvason which Gericaultwill paint TheRaftof theMedusa(f:lg. 3) is delivered to his studio. JulyIO The canvasfor one of the Times of Day is deliveredto Gericault'sstudio.Two othercanvases will be deliveredAugust4 and 18 (see nos. 5, lo, 1l). August2I Birthof GeorgesHippolyte,the child of Gericaultand his aunt, Alexandrine.

1819

August25 Openingof the ParisSalon, where GericaultexhibitsTheRatCt of theMedusa.C,riticism is mostlyfavorable,and the artistwins a prize.He is disappointed, however,that it is not more of a sensationand that the governmentfails to purchaseit. Gericaultsuffersa breakdownafterthe Salon closes. AprilIO The artistembarksfor Londonto exhibit TheRatCt of theMedusaat the Ep7ptianHall in Piccadilly.He travelsto Brusselsand meets JacquesLouis David. December 2I Gericaultleaves Londonfor Paris. Gericaultsuffersa ridingaccidentand his health declines. Probablyduringthe courseof this yearhe paintsthe ten Portraits of theInsane(fiveof which are now lost) for the c elebrated ParisianpsychologistDr. Georget. Februaty Gericaultis confinedto bed. Januaty2 6 Gericaultdies. He leaveshis estate and atelierto his father,who in turnwritesa will leaving everythingto the artist'sillegitimateson. The latterwill is rewritten.Gericault'sson lives his life
ln secluslon.
1

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821 822

823 824

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Introduction

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Figure 1 Chasseur TheCharging x 1047/# in. Oil on canvas,1375/8 (349 x 266 cm) Paris,Musee du Louvre, Inv.488s

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LouisDavid(1748-1825), the " exclaimed Jacques "Where doesthatcomefrom? Chasseur at Charging painter of his day,on seeingGericault's mostcelebrated thetouch."Ofcoursehe couldnothave.The the Salonof 1812, "Idon'trecognize Theodore byJeanLouisAndre Chasseur (fig.1)wasthe firstworkeverexhibited Guerin (1774-1833), Narcisse pupilofPierre Gericault (1791-1824), thetwenty-year-old lookingin his Without of David's. painter whohadbeena student a Neoclassical hadbeen of the Chasseur thatthe author catalogue, Davidcouldnothaveevenknown restrained color, nothingof the master's studio,sinceit betrayed enrolled in Guerin's amalwasa brilliant finish.The Chasseur andporcelainlike immobile compositions, imagery of Baron militany andthepropagandistic brioof Rubens gamof the Baroque Vernet (1758-1836), andofCarle official painter ofbattles, Gros (1771-1835), Napoleon's Theyoungpainter's firstteacher. a specialist in suchsceneswhohadbeenGericault's wasa calculated training Neoclassical fromhis proper declaration of independence proportions and the exaggerated faults of drawing worth taking. The risk,butit was director of the Vivant Denon,theinfluential wereexcusedbyno lessthanBaron bythe dashof its patriotic wasthencalled.Carried as the Louvre MuseeNapoleon, of his first thepromise a goldmedal.However, wonGericault imagery, the Chasseur wereconcerned byhis second picture wasnotfulfilled atleastas faras the critics Cuirassier (lg. 2), shownin 1814. Itwastoo easyto TheWounded Salonsubmission, of an analogy to thehumiliations ofElcer faceof theretreating see in the anguished byBritish (Paris wasoccupied political situation. France's recentdefeatandpresent of LouisXVIII existedattheirpleasure.) troops, andthe newgovernment andRussian moodandasymmetric in itsmelancholic thanthe Chasseur Muchmoredaring oddlyenough,notforthese the Cuirassier wasmostoftencriticized, composition,
8

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Figure3 TheRaftof theMedusa Oil on canvas,1955/8 x 284 in. (493.4 x 725-8cm) Paris,Musee du Louvre, Inv.4884

characteristics butforits roughbrushwork andlackof finish.Profoundly disappointed, Gericault redoubled his artstudiesdespite his service in the king'smusketeers.Oncehe hadcompleted hisvoluntaty tourof duty, he competed forthe 1816 Prixde Rome,lost,buttraveled to Italyanyway, thanks to a generous annuity bequeathed to himbyhismother. Atfirstdiscouraged, thenemboldened bythe sight of themonumental frescoes of Raphael andMichelangelo, he returned to Francelate in 1817, brimming withideasforambitious compositions. He alsoreturned to whathe called"theterrible perplexity intowhichI haverecklessly thrown myself," an affair withhisuncle'swife.Shortly afterhis arrival he ordered an enormous canvas on whichto painthis submission to the 1819 Salon,givinghimselfovera yearto prepare themasterpiece thathe hopedwoulderadicate thememory of his misfortune atthe 814Salon. TheRaftof the Medusa(fig.3) that"sublime model,"as Delacroix calledit in 1824- wasthemasterpiece. Thepowerof Gericault's visionwassuchthathe altered the course of French painting withthissinglework,an odeto man's incorrigible butpathetic hopewhenfacedwithnature's destructive force.Adopting David's heroicfigural stylein his challenge to theNeoclassical beliefin theunequivocalsuperiority of manandreasonovernature, he proposed a newandverymodern ideaof the expressive possibilities of art.He hadattacked thereigning aesthetic atits vetyroot,asJ. A. D. Ingres(1780-1867) wasquickto recognize: "Ishouldliketo see removed fromthe Louvre thatpicture of theMedusaandthosetwobigDragoons[The ChargingChasseur andThe Wounded Cuirassier], its acolytes. . .thentheywillno longercorrupt thetasteof thepublic, whichshouldbe accustomed solelyto the Beautiful....I resenttheMedusaandthoseotherpictures of the dissecting room [Gericault's studies of humanlimbs]: theyshowus manonlyas a cadaver and reproduce onlytheuglyandthehideous. No!I object to them.Artshouldalways be beautiful andshouldteachus nothing buttheBeautiful" (p.53).ButDelacroix, who
9

"thebest sawin the studiesof cadavers as a youngmanhadposedforGericault, it one that"through He observed as it oughtto be understood." forBeauty argument that vigor, picturesque, of the power that lacked, always David that evetything sees (pp.575, whatthe vtscomicais to the artof thetheater" whichis to painting thatdaring on the one hand,andusing statesof emotion, extreme 574).Indeed,byexploring to paint ambition life,on the other,andwithhisverymodern motifsof everyday withthe colorand of Neoclassicism the grandeur combining subjects contemporary of the the career the lampthatilluminated sparked art,Gericault of Baroque energy Ary Vernet, minormasters Horace aswell as of a hostof so-called greatDelacroix, death premature In theyearsafterGericault's LeonCogniet. EugeneIsabey, Scheffer, own butGericault's Romanticism; to epitomize werethought in 1824,thesepainters is the wrotethat"Gericault Scheffer In 1828Arnold wasneverobscured. contribution of strong representation forits goalthe faithful headof thisnewschoolthatproposes School" is calledthe Romantic orwrongly whichrightly emotions, andtouching afterhis death,a wrotejusta generation Gautier was,as Theophile (p.196).Gericault longbeforeRomanticism." "Romanticist andpowerof the picturesque the samevigor,daring, applied Gericault seriesof landscapes Day, a remarkable of Times to the paintings in his figure evident his dissecting-room made he when period 1818, the andautumn in summer executed the Superficially, Medusa. stilllifes(seefig.1oe,p. 51)andbeganworkon TheRaftof the 11) (no. Evening and 4-6) Morning(no.5), Noon (no.10), (f41gs. threelandscapes motifsof oldItaly, of familiar largeassemblages areno morethandecoration, Intheir of nostalgia. perfume a roomwiththe strong enoughto furnish evocative thatcameintovoguein the murals thewallpaper theyanticipate quality, composite theyare death.Onotherlevels,however, 7),justafterGericault's (seefWlg. mid-1820s of theTimesof Day,a one of the lastrepresentations Theyconstitute extraordinary. of serialpaintings verydifferent beforeMonet's conceit, eighteenth-century popular of the genre examples the grandest the 18gosonthe sametheme.Theyareperhaps France(1814-30),andin theircomplete in Restoration painted of heroiclandscape they of the sublime, to the sensibility andtheirfrankappeal of naturalism rejection anAngloEssentially landscapes. of FrenchRomantic uniqueexamples arevirtually
10

Figures4-6 The Times of Day, 1818 Each panel:oil on canvas, x 86l/4in. approx.98X/2 (250 x 219 cm) with Landscape Morning: Fishennen(no. 5) Munich,Neue Pinakothek witha Roman Noon:Landscape Tomb(no. lo) Paris,Musee du Petit Palais withan Evening:Landscape
Aqueduct (no. 11)

Museumof Art The Metropolitan See also pp. 43, 48, 52

Figure 7 Dufouret Leroy Landscapes of Telemachus: Mentor ThrowsTelemachus intothe Sea, 1825 Printedwallpaper Plate 21 fromLeschefs-d 'oeurre du papierpeint:Tableauz-Tentures de Dufour& Leroy.Paris:Librairie des ArtsDecoratifs

Saxonnature-drama, asWilliam Vaughan hascalledit (p.180),trueRomantic landscape painting, as practiced byFriedrich, Turner, Martin, Allston, andKoch, was notseenin France. Delacroix, forone,identifWled "those exaggerated effects, those darkskies,thosecontrasts of shadow andlight"withEnglishart(p.663). Ineighteenth-centuny France the sublime, an aesthetic idealthatgained currency in the secondhalfof the centuny, wasoftenapproached butrarely attained. Almost exclusively pursued byhistorical landscape painters, the notionof the sublime emerged as a reaction to therigidcategorization of genres.In 1708the Frenchart theorist Rogerde PilescodifWled thedefWlnitions of twodistinct typesof landscape painting thatweremaintained byacademicians andcritics through the earlynineteenthcentury, paysageheroiqueandpaysagechampetre. ThefWlrst wasa high-minded moralartidentifWled withPoussin,exemplifWled, forinstance, bythe FourSeasons (fi1gs. 8-1 1);the seconda lessrigorous, bucolic, andnaturalistic styleidentif41ed with Claude. Bothtypeswereconsidered inherently inferior to history painting, in which greatideaswererhetorically expressed bynoblefWlgures. Nevertheless, heroiclandscaperequired bothdiscipline andgenius: Itwas,according to de Piles,"Acompositionof objects whichin theirownwayextract fromartandNature allthatis grandand extraordinany.... Nature represented if nothowchancemakesit be seeneveny day,at least,as oneimagines it oughtto be. Thisstyleis an agreeable illusionanda pieceof enchantment" (p.202).DenisDiderot (1713-1784), the French philosopher, wrotea greatdealaboutlandscape painting during themid-eighteenth centuny, andin particular abouttheworks of Claude Joseph Vernet (1714-1789). Diderot concurred withde Piles'sclassifWlcation, but,in his desireto promote to thehighestgenresthe workof the artists he admired7 he setoutto redefilne the concept of histony painting to includeheroiclandscape as painted byVernet. "Iprotest however that.. .the marines ofVernet, whichofferall sortsof scenesandincidents [ofhighhuman drama] areforme justas muchhistony paintings as The Seven Sacraments by Poussin" (Oeurres esthetiques, p. 726).Thekeyquestion waswhether landscape could effectively communicate ideas.Diderot usedthenotionof the sublime, whichhe detected in Vernet's bestwork,asthejustifWlcation to elevate the stature of heroic landscape painting to thatof histony painting. In his defilnition of the sublime, Diderot
1 1

in a manner . . .oroperates is in anysortterrible "Whatever Burke: Edmund followed Philosophical TwoyearsafterBurke's is a sourceof the sublime." to terror, analogous in French, appeared andBeautiful of theSublime of OurIdeas intotheOrigin Enquiry shownatthe 1767Salon,"allthatstunsthe of theVernets wrotein his review Diderot III, p. 165,). (Salons, leadsto the sublime" a feelingof terror, soul,allthatimprints of the representation (fig.12), withits convincing lateShipwreck spectacular Vernet's thattransported of the kindof painting of a watetydeath,is a goodexample threat experience. to a sublime Diderot could anyartist To stunthe soul,to stirthe mindwasthe highestambition that agreed andtheorists mostartists centuty have,andbythe endof the eighteenth conditions. thisgoal,butonlyunderthe proper couldachieve painters landscape attheturn Frenchlandscapist the principal (175,0-1819), PierreHenriValenciennes in his 1799-1800 onlandscape current thinking summarized century, ofthenineteenth de Piles's He followed toa Student. andAdvice andReJ7ections ofPerspective Elements he calledhistorique (which heroique andpaysage champetre ofpaysage categorization withthe is painted notingthat"theElrst painting), to histozy to makean analogy 1976,p. in McMordie the secondwiththe colorof feeling"(quoted feelingof color, of naturalist popularity thattheincreasing wasconcerned Valenciennes However, 65,). he hopedto instillin future the grandmanner wouldundermine painting landscape "Nicolas advice: the following offered He therefore of Frenchpainters. generations Virgil, havedonewhatHomer, andothers Domenichino, Carracci, Annibale Poussin, withcolors. andall thefamouspoetswouldhavedoneif theyhadpainted Theocritus on [thepoets]and,in closingtheireyes,theysawthatidealNature, Theymeditated
12

Figures8-11 NicolasPoussin (French,1594-166S) The Four Seasons, 1660-64 Each panel:oiI on canvas,46l/2x 63 in. (118x 160cm) Springor TheEarthlyParadise SummerorRuthand Boaz Autumnor TheSpieswith Grapes Land from thePromised Winter or TheDel7lge Paris,Musee du Louvre, Invs.7303, 734, 73Sv7306

Figure 12 ClaudeJosephVernet (French,1714-1789) 1787 Shipwreck, in. Oil on canvas,45 x 595/8 (151.4x 114.3cm) The Wadsworth Hartford, Atheneum,The Ella Gallup Sumnerand MaxyCatlinSumner Collection

and whichonlygeniuscanconceive withwealthof imagination, adorned thatNature visionsof unidealized words, one shouldnotpermit (p.377).In other represent" to contemwasin contradiction This,however, to sullythe canvas. orreality, nature, trekked moreandmorepainters century, Atthe endof the eighteenth practice. porary thattheythenusedas modelsfor sketches backvibrant andbrought intonature his neverexhibited forexample, Valenciennes, of theiridealviews.Although elements in themanner canbe detected to landscape approach a realist oil sketches, exquisite motifs. individual in whichhe treated washeldin thatwhileheroiclandscape hasdemonstrated Beno1t Franbcois or naturalist century, of the nineteenth atthebeginning higheresteembytheorists atthistime.Between andadmired practiced wasmorepopularly landscape realist atthe Salonswerelandscapes. exhibited of thepaintings one quarter 1791and1814, halfof the landscapes constituted landscapes or"ideal," Before1806,composed, the otherhalf.Afterward, landscapes, views,or"portrait" shown,andtopographical heroiclandscapes theideal.Bythefallof the Empire, tippedagainst thebalance to the Salon.In an submissions onlyone outof onehundred on average comprised to fine artsacademy pressed the government trend, the this to countermand attempt of like those their studies, so that painters createa Prixde Romeforlandscape The of Italy. andcountryside bythemonuments couldbe inspired painters, history

Figure 13 PierreHenriValenciennes (French,1750-1819) 1787 TheAncientCityofAgrigento, in. Oil on canvas,43l/, x 645/8

(llOX 164Cm)

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he in partbecause atf1rst resisted de Quincy, Quatremere of the academy, secretary andin part painting overlandscape painting of history the priority to maintain sought (seeMcMordie affairs in theacademy's interference governmental he resented because eventhemost infiltrated hadalready butnaturalism in 1817, 1976).He relented their assembled andhis followers Valenciennes landscapes. classical rigorously andimbued fromnature madedirectly fromsketches compositions idealized (seefig. 13). atmosphere realistic withpalpably theircompositions HisTimesof Dayareconcourse. different tooka completely Gericault butfromthe studyof greatart.In a purely notfromnaturestudies structed and motifsfromtheworksof otherpainters he appropriated manner, intellectual of deE1nition contemporary to the conformed that compositions themin arranged by treatise 1817 in an described as of landscape, category thehighest heroiclandscape, constitutes "All that andessayist: a minorpainter (1787-1877), C. J. F.Lecarpentier There noble,andsimple. mustbe at oncegrand, of thesepaintings the composition places,eitheras the in the appropriate shouldbe somegoodpiecesof architecture stateof splendor, themin theiroriginal wouldrepresent of thepainter imagination to thembythe Greeks assigned formsandtheirgoodproportions withtheirbeautiful thatescaped himselfto imitatethevestiges wouldcontent oras the artist andRomans, past"(p.59).Intheory, orthe longseriesof centuries of revolutions theravages forgreat criteria the academy's Timesof Daywouldevenhavesatisfied Gericault's quotations scaleandobvious but,in fact,theirdisproportionate heroiclandscapes, them. wouldhaveshocked paintings fromearlier of thenaturalistic realism the sweet,atmospheric completely Rejecting painting, of academic andthetiredconventions of the early1800S painting landscape Vernet Joseph of a etpet paysages animated dramatic, to the back reached Gericault bytheworksof as exemplified century artof the seventeenth andto the muscular of the dreamed and to nature eyes his closed He Rosa. Salvator and Poussin,Dughet, storm gathering skies, leaden mountains, of piles Withvertiginous manner. grand forcesintothe souland of unknown terror ruinshe imparted clouds,anddesolate the styleof painting in Francepracticed no artist Virtually forthe sublime. reached one works, mustturnto the Timesof Day.Foranalogous in Gericault's reRected the centerof the early in Italy, by foreigners contemporaneously produced landscapes Josef German as the such artists of heroiclandscape: revival nineteenth-century 16, (fi1gS. (1779-1843) Allston Washington American orthe AntonKoch(1768-1839) of nature, elements realistic more reflected vision panoramic 17).Tobe sure,Koch's
14

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worlds of Fuseli,Blake,andEnglishpoets, whileAllston's alluded to theimaginary withthe samestrong essenceof Italy notthe butbothpainters' works areimbued monuin light,butrather the Italyof Michelangelo's Italy thatClaudesawbathed mountains depicted in the treesandfantastic mentalSistineChapelandof the blasted Before the discovery of in theRoman picture galleries. Dughets, Rosas,andPoussins to thatestablished the dateof theTimesof Dayas autumn aninvoice forthe canvases whether Gericault painted thembeforeorafterhis trip winter1818, scholars debated actualexperience of donotconvey Gericault's to Italyin 1816-17. True,thepictures couldnothave evensuggested thatthe artist theItalian countryside-one scholar thathe oncehe hadseenthem butit is unlikely painted the sitesso inaccurately without having beento in thegenreof heroiclandscape wouldhaveconceived works panels(fig.14), Gericault's firststudies forlandscape Rome.Onehasonlyto compare of theTimesof to thethreeknowncanvases probably executed before he leftforItaly, in approach. afterhe returned, to see a cleardifference Day(nos.5, 10,11), painted bucolic somewhat contrived, showsan attracti-ve Thisearly watercolor, although wouldmakea distribution of lightsanddarks, landscape that,withits agreeable
15

handsome decoration. No ideais conveyed; he givesinsteada pleasant prospect. The Timesof Day,to the contrary, although superficially decorative, areat oncefarmore ambitious andunsettling in theirmood.Theobserver, likethe figures in the landscapes, is overwhelmed. One'srelationship to nature is calledintoquestion, andthe mindracesas Gericault's visionis checked against personal experience. The enormous sizeof the Timesof Day,approximately eightbysevenand one-halffeet,is one of the mostsignificant features of the pictures. Wecannot know whether the dimensions weredetermined bythe specifications of a commission or whether theyarea statement byGericault on the importance he attached to them. Theirsizeis surpassed in his oeuvre byjustthreeof the fourpaintings (onenowlost) thathe exhibited publicly during his brieflife,thevastRaft, The ChargingChasseur, andThe Wounded Cuirassier the lasttwobeingonlyslightly larger thantheTimesof Day.Thesepaintings wereall criticized forbeingtoo largeandfornotconforming to the conventional hierarchy of genreandrelative size.C. P.Landon, a Frenchcritic, touchedon the problem in his review of TheRaftatthe 1819Salon:"Wemayfeel surprised thatthe artist. . .shouldhaveusedthisimmenseframeandthesecolossal dimensions. Suchgrandiose proportions arenormally reserved forcelebrating events of a moregeneralinterest, suchas a national festival, a greatvictory, the coronation of a sovereign" (p.66). Delacroix, however, realized thatsupernormal scalewasan integral partof Gericault's strategy. Recalling in 1853his reaction whenhe stood beforeRubens's immense Ratsingof the Crossin Antwerp, he wrote: "Ithinkit is appropriate forme to takenotehereof the quiteanalogous wayI havefeltbefore Gros's battlepictures, andbefore theMedusa,especially whenI sawit halffinished. Theessential thingabouttheseworks is theirreaching of the Sublime, whichcomes in partfromthe sizeof the figures.... Proportion countsforverymuchin the greater orlesserpowerof a picture. Notonly.. .wouldthesepictures, executed in smallsize, be ordinary. . .but,weretheymerely life size,theywouldnotattain the effectof the Sublime" (p.335).TheE1gures in the Timesof Dayaresmall,unlikethosein The Raft,buttheirinsignificant scalein comparison to the hugelandscapes showsthe sameprinciples in operation. "The Sublime,"Delacroix notedin his journal, "ismost oftendue,curiously enough,to disproportion" (p.554).TheNeoclassical landscape specialists of the 1810S rarely embarked on suchlargelandscapes, withorwithout figures. Theirinterest layin approaching beauty, notthe sublime, andbigcompositionscarried risksthattheywereunwilling to take.However, gigantism mayhave beenin the airduring the SecondRestoration. ComteForbin(1777-1841), who arranged forthe Louvre to purchase TheRaft of theMedusain 1824,exhibited atthe 1817Salonan eight-by-ten-foot canvas of Vesuvius erupting. Andthatsameyear Michallon received a commission to painta hugelandscape forthe 1819Salon,The Death of Roland (Paris, Museedu Louvre), which,at oversixbyninefeet,is also larger thanGericault's panels. Nevertheless, largelandscapes weremuchmorefrequent in the eighteenth century, whenJoseph Vernet andHubert Robert specialized in decorative landscape ensembles. TheTimesof Daywereoftenthe subjects of theseseries.Sincethe Renaissance, artists haddemonstrated theirmastery of a variety of effectsbypainting the fourseasons, the months,orthetimesof day,butJoseph Vernet madea specialty
16

Figures 18-21 LouisJacquesCathelin (French,1739-1804) afterClaudeJosephVernet (French,1714-1789) The Times of Day Eachplate:etchingandengraving, 175/8 x 223/8 in. (44.7 x 56.9 cm) Morning Noon Evening Night The Metropolitan Museumof Art, HarrisBrisbaneDick Fund, 1953, 53 600-1674,1673, 1672, 1671

of the latter. Hisgreatest seriesof canvases, the Timesof Dayon landandsea,were painted forthebilliard roomof the Marquis de Laborde in 1766-67, andhis best-known works werea ubiquitous set of engravings afterpaintings of theTimesof Daythathe hadmadein 1764-65forthe library of the Ducde Choiseul (figs.18-21). Valenciennes, whoseideasoftenreflected thoseof Vernet, wrotethatpainters divided the dayintofourperiods because"onefinds . . .moredecidedcontrasts, morepronounced oppositions, andmoredistinct effectsattheinstant determined foreach division.... Thefreshness of themorning wouldbe bettersensednextto theburning horizon of evening, andonewouldbetter appreciate the calmof nightandthe soft silver lightof themoonin placing it in opposition to theheavyatmosphere and obliterating raysof the sunatnoon"(p.427).Reading eighteenth-centuny descriptionsof setsof theTimesof Day,oneimmediately recognizes thatin his pictures Gericault closelyconformed to theseconventions. Although scholars havedebated the subjects of Gericault's largelandscapes, it cannowbe confidently stated thatthe motifof fishermen settingoutandthe cool,graylightidentify the Munich picture as Morning; thethunderstorm andharshblueskyestablish the Parispicture as Noon; andthe leisurely swimmers and"burning horizon" indicate the NewYork picture to be Evening.

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Gericault's setof theTimesof Daywasvirtually uniquein Restoration France. Why didhe paintthem?Mostof his pictures weremadeeitherforexhibition orforthe artist's instruction andpleasure. However, thepeculiar proportions, largescale,and identical sizeof the canvases of theTimesof Dayannounce thattheyconstitute a suite andthattheyweremeantto hangtogether, perhaps in a specific place.If one discovered wherethelargelandscapes weremeantto hang,onemightlearnforwhom theywerepainted. Particularities of theircompositions, theirpalettes, andtheirscale mightbe explained bythe conditions atthe siteforwhichtheyweredestined. More important, hiddenmeanings mightbe revealed if oneknewGericault's relationship to the patron orrecipient. Gericault leftnothing to explain his motive in embarking on theTimesof Day.Fewof his letters remain, andonlyrarely do thesediscuss theprojects in which he wasengaged. However, one crucial document has survived thatcategorically establishes the terminus post quemforthe dateof thelandscapes: theinvoice(fig.22 andinsidebackcover) fromthe artist's supplier, Rey,for,amongotherarticles, the threecanvases delivered to Gericault's studioon July10,August 4, andAugust18, 1818. Thedimensions correspond to thoseof Morning,Noon, andEvening.Miraculously, the invoice wasdiscovered tuckedintoa copyof Clement's catalogue raisonne belonging to thePhiladelphia collector Henry McIlhenny, whoallowed it to be published in 1980(Rosenthal 1980).Charles Clement(1821-1887), the artist's biographer, hadactually seenonlyone of thethreepaintings, Morning(no.5),which he calledLarge Vertical Landscape.In his catalogue Clement recorded thata pendant to it hadbeenseenin the artist's studioin 1818-19,buthe didnotknowthe subject of thependant, nordidhe comment on the possible existence of otherpanels.
18

Figure 22 Detailofbillforthreecanvases fortheTimesof Day (seealsoinside backcover). TheHemyP.McIlhenny Archives, Philadelphia Museum ofArt

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Apart fromthe delivery of the canvas, nothingelse canbe documented until thirtyyears later, when,on September 8, 1848, a Baron Desazard, livingat 14 ruede la Rochefoucault, offered to sellMorningto the Louvre (Grunchec 1g7ga, p. 220). The painting wasstillforsalein March 1850, whenthe artist EugeneLouisIsabey wrote the director of theLouvre to recommend thepurchase, forfivethousand francs, of "a rarething,beautiful in itself,andperhaps the onlylandscape byGericault" (Archives duLouvre et desMuseesNationaux, P5 1850 mars). Thedirector responded thathis budgetfortheyearhadalready beenexhausted bythepurchase of a Hobbema, a Velazquez, andotherworks bymasters notyetrepresented in the museum. Morningthenreappeared in 1859, whenClement sawit attheposthumous sale(seefig. 23) ofthe collection of AryScheffer (1795-1858), a Romantic painter and lithographer whohadstudied withGericault in Guerin's atelier. Atthe timeof his death,Scheffer's collection constituted a finesurvey of Gericault's subjects: twohorse studies afterRubens, a studyof a bulldog(Paris, Museedu Louvre), paintings of a Turk anda headof a youngman,andthe largelandscape. Scheffer alsoowneda number of exquisite drawings, notably someearlystudies forTheRaJ2t of the Medusa, aswell asthe entireChicago album(seeno. 1),whichhe probably assembled from twonotebooks thathe acquired attheposthumous saleof the contents of Gericault's studioin 1824. In allprobability, Scheffer boughtall of his Gericaults except possibly the landscape atthe studiosale,wheremasterpieces changed handsfor a fewfrancs. However, it is notknown how,when,orwherehe obtained Morning; perhaps he bought it fromBaron Desazard afterthe Louvre declined it in 1850. In anyevent,Morningwasnotlistedin theposthumous inventory, prepared on June22, 1858, of Scheffer's rueChaptal apartment andstudio,although the otherfi1ve Gericaults were.Scheffer couldhavekeptthelandscape athis quarters in Argenteuil, outside Paris,buttheposthumous inventory of Scheffer's effectsatArgenteuil cannot be located. A mannamedDornan (orDornon) bought Moming atthe Scheffer salefor 1150 francs. Clement, whoserved as one of the experts forthe sale,listedDornan as the owner in his 1879 catalogue raisonne, butDornan is notmentioned in anyof the standard dictionaries of collectors. Morningremained outof viewuntil1959, whenit wassoldin a Parisauction byan anonymous collector fromBordeaux. Noon (no.10)andEvening (no.11)madetheirfi1rst publicappearance in a salein Parison May30, 1903. Notedin the catalogue as pendants were"important decorative panels" calledVillageon a Riverbank[Noon]andLandscapewith Rocks and Structures [Evening].Thecatalogue alsosupplied thefollowing information, whichhasmisledresearchers forthe lastthirty-five years:"These twopaintings were painted byGericault forhis friend Marceau, whosehousein Villers-Cotterets they decorated. Theycomemostrecently fromthe Chateau de Montmorency." In fact, Gericault probably didnothavea friend namedMarceau, theTimesof Dayalmost certainly wereneverin Villers-Cotterets, andit is impossible to document thatthey wereinstalled in the Chateau de Montmorency in theyearspreceding the 1903sale. Modern scholars accepted the account givenin the 1903salecatalogue until 1980,whenHeleneToussaint (1980,p. 106)identifi1ed Marceau as JeanHenry Marsaux (1750-1840). Marsaux wholivedin the Hostellerye de la Croix-Rouge, a
19

seventeenth-century building atVillers-Cotterets, northeast of Paris camefroma familyof wealthy landowners andwoodmerchants whoprofited fromtheRevolution bybuying up the landsof fleeingnobles.However, Marsaux's namedoesnotappear amongGericault's papers orin his friends' reminiscences, andno works byGericault appear in the posthumous inventory of Marsaux's possessions drawn up on July29, 1840. He didowna set of pictures calledTheFour Timesof Day, buttheywerethe fourengravings afterJoseph Vernet's paintings (figs.18-21) andwerevaluedat six francs. Marsaux ownedonlyfewpictures, ofwhichnonewerebycontemporary French artists, andthusit is unlikely thatGericault executed the largelandscapes forhim. Thereference to the Chateau de Montmorency is equally problematic, for therewereseveral chateaus so-named. Charles Le Brun,LouisXIV'S court painter, builta housein 1670 at Montmorency, northof Paris,as his ownpleasure pavilion. He enlarged it during his lifetime, butuponhis death,the chateau wasacquired by Crozat theYounger, whohadthe architect Cartaud restore it to Le Brun's original design.The Cartaud/Le Brunbuilding, calledthe Chateau d'Enguyen in the eighteenthcentury, becamethe residence of the Ducde Luxembourg. Itwasdestroyed in 1878 andreplaced byan enormous FrenchRenaissance pilebuiltin 1881-82 (fig.24) byCuvilliers fora newlyrichspeculator in stocks, LeopoldSee. He wentbankrupt in the mid-l880s, andfromJuly24 to 29, 1886, the entirecontents of the modern Chateau de Montmorency "sumptuous furnishings, artobjects, tapestries, carriagesandplants" weresoldatthe house.ThetwoGericaults werenotlistedin the sale.According to the townarchivist, the property waspurchased in 1886 bythe Duc andDuchessede Dino,whosoldit in lgol. Sincethepaintings werenotauctioned in 1886, theycouldhavebeenbrought to Montmorency bythe Ducde Dino.Itis reasonable to assumethattheywere removed laterandconsigned to the 1903 auction. However, the officialaccount (proces verbal)of the 1903 saleindicatesthatthe
Chateaude Montmorency, built 1881-82 for LeopoldSee purchasedin 1886by the Duc and Duchesse de Dino

20

Figures 25, 26 A view (left)of the outbuildings of the Chateaude Jeurre, whichincludea towersimilarto the one Gericaultdepictedin Noon:Landscape witha Roman Tomb(no. lo, right)

consignor of themajority of thelots (although the ownerof thetwoGericaults is not specifically cited)wasRenePetit-Leroy, whoseaddress wasgivenas 32 avenue Montaigne in Paris.MarieRenePetit-Leroy (b.1846) joinedthe French ministry of foreign affairs in 1867, served in Tangiers, Rome,andBerlin, climbed theladder of bureaucratic success, andwasawarded themedalof the Legionof Honor. He never livedatthe Chateau de Montmorency, andif he wasthe consigner of thelarge landscapes, howhe acquired themis a mystery. A Monsieur Lavillebought Noon andEveningatthe 1903 salefor1205 francs almost the samepriceforthepairas thatpaidbyMonsieur Dornan for Morningin 1859. Nothing is knownaboutLaville, whobought threelotsatthe sale, buthe mayhavebeenan employee of the auctioneer, PaulChevallier. According to NatLeeb(d. lggo),a Parisian painter andoccasional artdealer whoreputedly owned thelandscapes from1937 to 1949, Noon andEveningwerein thepossession of the Comtede Saint-Leon soonafterLaville purchased them.Arthur, ComteDufresne de Saint-Leon (about 1857-1947), wasan extraordinary, eccentric collector, as interested in architectural fragments as he wasin oriental porcelain orFrenchpainting. His primary residence wasthe Chateau de Jeurre, justoutsideParisat Etrechy, where he andhis father, Henri,assembled andrestored theremains of folliesthatHubert Robert andothers haddesigned forgardens atMereville, nearJeurre. Arthur de Saint-Leon alsoacquired largeelements of thefabeades of important Paristown housesandrebuilt Jeurre in order to accommodate them.He haunted the Hotel Drouot, theParisauction house,wherehe wasa frequent, impulsive purchaser. His grandson Louisde Saint-Leon remembered thathis grandfather wasa goodfriendof JulesFeral,the expert whoorganized the 1903 sale.ThusFeralcouldhavebrought Noon andEveningto his attention. Andwellhe might,because Gericault's assemblageof fabricated Roman ruinsreflected the samespirit thatguidedSaint-Leon at Jeurre, whichevensported a crenellated towerlikethatin Noon (figs.25, 26). Louis de Saint-Leon hasindicated thatthereis onlyone roomatJeurre bigenoughto accommodate thetwolargelandscapes, the SalonRose,wherehe remembered that his grandfather hadinstalled large,dark paintings in the ceiling.He recalled atleast twolargepaintings, possibly flanking a third. At sixteenbyforty-eight feet,the ceiling
21

wouldhavebeenlargeenoughto accommodate four.Admittedly, the ceilingwould be a peculiar placeforthe landscapes, butatJeurre a creative, eclecticspirit reigned. Arthur de Saint-Leon had,in thewordsof his grandson, "dramatic" needs formoneyandwentbankrupt during the 1930S. In 1937a marshal soldoffportable goodsin one of the outbuildings atJeurre, andit wasthenthatNatLeebreputedly boughtfour panelsof Gericault's Timesof Day.Justbefore Eveningwasauctioned in NewYork in May1989,Leebinformed Sotheby's officein Paristhathe had purchased the fourlandscapes directly fromSaint-Leon in 1937. Asthepictures were toolargeto be brought intohis house,he keptthemin storage at a warehouse runby Atlantic Transports on the avenueduMaine.Atthetimeof theirpurchase, he reputedly madedrawings of the fourcompositions (figs.29-32), photography being difficult to arrange. Leeb'sdrawing of Ntghtis thefirstdocument to appear that indicates Gericault painted fourpanels. LeebtoldSotheby's thatthefamilyof the Comtede Saint-Leon had acquired twoof the panels(presumably MorningandNtght)fromthe Duchesse de Montebello in themid-nineteenth century, andthatthe othertwo,Noon andEvening, hadbeenpurchased before the FirstWorld War. According to Leeb,Arthur de Saint-Leon gavehima letterwritten bythe Duchessede Montebello to a Saint-Leon familymember. Leebsaidthathe subsequently gavethe letterto PierreDubaut, a knowledgeable Frenchcollector, dealer, andconnoisseur of Gericault's work,who meantto publish it. Itwasneverpublished andcannotbe foundamongDubaut's papers, butLeebfurnished Sotheby's witha typedtranscription.
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JulyI850

My dearcousin, SaturdayI will deliverto you theframefor TheArtillery Train.Theother Gericaults do not haveframes.My husbandhad thefour landscapes painted to the dimensionsof the walls of the drawingroom.Theywerebuilt into the paneling. Very cordiallyyours, L. de Montebello

Sadly, theletteris mostlikelya forgery. JeanLannes(b. 1769),laterDuc de Montebello andMarechal de France,one of Napoleon's greatest marshals andclosest friends, diedas a resultof a battlefileld injury in 1809,nineyearsbeforeGericault painted thelandscapes, andcouldnothavecommissioned them.However, it is conceivable thatthe letteris authentic, andde Montebello's widow,sixty-eight years oldwhenit wassupposedly written, erred ormisstated the factsin order to makea sale.LouiseGueheneuc de Lannesde Montebello (1782-1856), a lady-in-waiting to Empress Marie-Louise, formed a considerable collection afterherhusband's death, andwhenshe died,filve auctions werenecessary to disposeof hergoods.Amongthe 22

lotswerea number of important paintings, including an oil sketchof TheRaJCt of the Medusa,whichshe bought fromGericault's student Jamar (andwhichis nowin the Louvre), butnotthelandscapes. TheTimesof Daywerenotmentioned in the inventory of herpossessions madeon July5, 1856, orin thevarious willsprobated fromJuly8 to 17,nordotheyappear in thewillsorinventories of twoof hersons, Napoleon Lannes,Ducde Montebello, andGustave Olivier, Comtede Montebello. IftheDuchesse hadownedthelandscapes, wherewouldtheyhavebeen installed? In 1818, whenGericault painted them,shewaslivingin an enormous house at 62 ruede Varenne. CalledtheHotelde Mazarin, it wasone of thegrandest houses in Paris,renowned forits earlyRococodecor. The de Montebellos acquired it in 1807, and,trueto thefashionof the day,replaced the opulent Rococo interior witha severe butno less splendid interior. Thereweretwonearly identical salons,backto back, fittedwithoverdoors, painted panels,andpiermirrors, whichwouldleavelittleroom forthelargelandscapes. TheDuchessesoldthe HotelMazarin-Lannes in 1825 and moveddownthe street to 73 ruede Varenne. Itis notinconceivable thatthe Gericaults werealready installed in hernewresidence, theformer Hotelde Broglie, butthe description of the contents soldin 1857 wouldseemto ruleoutthatpossibility. There werenumerous tapestries, mirrors, painted panelsbyBoucher, andotherlarge architectural elements thatwouldhavecompeted withthelandscapes foravailable space.Butif thepaintings didnothaveframes, as indicated bythe letter, theymay havebeenrolledup outof view.Iftheywerebuiltintothewallpanelsof a salon,the "dear cousin" she addressed wouldnothaveto be toldthattheywerenotframed. Itis thuspossible thatthe Duchessede Montebello acquired the landscapes andsoldthembefore herdeath,butit is notlikelythatshe commissioned them. Moreover, fortworeasons it is notpossible, as Leebwouldhaveit, thatthe Duchesse soldtwoof thelandscapes to the Comtede Saint-Leon around 1850. First,sinceNoon andEveningcouldonlyhavebeenpurchased bySaint-Leon aftertheirsalein 1903, MorningandNtghtwouldbe thepaintings soldin 1850. Butwe knowthatMorning wasin thepossession of Baron Desazard in 1848 andthatit wasincluded in the Scheffer salein 1859, andthusit couldnothavebelonged to Saint-Leon atthistime. Second,although Leebsaidthatthe envelope wasaddressed bytheDuchesse to the Comtede Saint-Leon, thetitlewasnotin use untilthelastquarter of tilenineteenth century: Arthur's father usedthenameDufresne. Itremains to investigate cluesto the origins of thelandscapes in the artist's firststudies fordecorative panels.Thesedrawings (seenos. 1,2) wereprobably made in spring 1816 atthe Chateau de Grand-Chesnay, the country houseadjacent to Versailles thatbelonged to Gericault's uncleCaruel de Saint-Martin, andhis aunt, the artist's mistress. Casting aboutforanimportant project in themonthsbeforehe leftforItaly, Gericault couldwellhavesoughtbothto flatter the uncle,whohad encouraged his artstudiesas a youth,andto decorate the houseof his lover. Jean-Baptiste Caruel (1757-1847) bought Chesnay in 1802. Saidin thenineteenth century to havebeenplanned byMansart withgardens byLe Notre,it is, in fact,a rather ordinary house(filg. 27) designed byan anonyrnous builder during the late eighteenth century. A three-story structure onlyaboutthirty-six feetdeep,witha mansard roofanddormers, it is flanked bywingsenclosing an ovalcourt.Chesnay stillexistsbutin a completely altered state.Afterthe deathof Gericault's nephewPaul 23

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The rebuilt. in 1889, the housewassoldandcompletely de Saint-Martin, Caruel A ten feet,andthe layoutof the roomschanged. adewaspushedforward courtfacs of the disposition in 1802 givesa goodindication of theproperty description detailed to determine wouldhaveknownit, butit is stilldiffilcult of thehouseas Gericault wherethethreeorfourpanelsof theTimesof Daycouldhavebeenplaced.No single boththe roomwouldhavebeenlargeenoughforthreeormorepanels although salonandthe diningroomcouldhaveheldtwo. unclein 1847 reveals madeuponthe deathof the artist's Theinventory at engravings framed fifty-odd and paintings hadsomeforty-four thatthe Caruels in the arelistedas havingbeenin theirParisapartments (Nopictures Chesnay. in 1821.) whichtheyacquired at 23 ruede l'Universite, HotelCambaceres so-called a pair included amongthem,butthe collection worksarenotmentioned Gericault's anda painting Lefevre, byRobert twopaintings byValenciennes, of landscapes sincewe knowfroma is curious, of Gericault (Theomission to Boucher. attributed aunt,who thatthe artist's century in the mid-nineteenth byClement letterwritten byhimin her of drawings andalbums oil sketches, liveduntil1875, keptwatercolors, as were,for theywouldhavebeeninventoried, circumstances room.Undernormal as Onelot,no. 141, is described in herdowry.) she brought the oldmasters example, (Bazinlg87a,p. 106). thefourtimesof day 300 francs" representing paintings "four at wasappraised high.OneValenciennes is fairly is givenbutthevaluation No artist Timesof Dayarenot signed,couldthey the otherat 200. SinceGericault's 250 francs, not,forthe one factknownaboutthe heroic listedas lot 141? Probably be thepictures in themweredelivered painted Gericault which on canvases the is that landscapes 18, three on August was delivered canvas last, and JulyandAugust1818. Thethird, Nothingis baby. to Gericault's gavebirth de Saint-Martin daysbeforeMmeCaruel withhis auntafterthe birthof theirchild,butit is relations knownof Gericault's to be the pictures unclewouldhavepermitted thatthe artist's inconceivable virtually by overcome 1818. CouldGericault, in his houseafterthe eventsof summer installed

Figure 27 The main buildingat the Chateaude Grand-Chesnay, the countlyhouse of Gericault's uncle Caruelde Saint-Martin.

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passion, havebeenso shortsighted as to haveembarked headlong on a project destined forChesnay justas his auntwasdelivering theirson?Yes.He wasone of the mostimpetuous, contradictoxy, self-destructive yet brilliant artists of alltime.Butdid he needto havea destination ora particular recipient forthe seriesbeforehe painted them?Notnecessarily. He couldhavesimply wishedto tryhis handatlandscape painting, and,trueto form,he didso withgreat,overscaled ambition. Perhaps at one moment he thought he mightexhibit the set atthe Salon. Where, then,didtheTimesof Daygo afterthe artist completed thethree, andpossibly four,panels? Theyprobably remained in his studioin thefaubourg du Roule.After thatstudio wasdismantled, he probably stored themwithfriends just ashe stored hisother largecanvases, suchas The ChargingChasseur andThe Wounded Cuirassier sincetheyarenotlistedin the posthumous inventory of his belongings. TheTimesof Daymayhavebeentheworks soldin his atelier saleas lot no. 18,"four sketches of landscapes," forthe smallsumof ninety-two francs. Inthe dimvisionof theappraisers, almostall of Gericault's works, no matter whatthe sizeorlevel of fWlnish, weredescribed as studies orsketches. Afterthe sale,thethreeknown panels weredispersed andmaynothavebeenreunited untiltheirappearance in the present exhibition.
Figure 28 ThomasHope (English,1?69-l83l) DrawingRoomwith Oriental Landscapes Plate 6 fromHousehold Furniture and InterzorDecoration Executed fromDeszgns by Thomas Hope London:Longrnan, Hurst,Rees, and Orme,180? Hope'sdesign for a roomshows how sets of landscapescouldbe integrated into a Neoclassical decor.
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Arthistorians havespeculated on the existence of a fourth landscape eversincethe threeknownpanelsreappeared in the 1950S. However, therewasno evidence to confirm thattherehadeverbeenan additional picture untillastyear,whenNatLeeb revealed the drawing thathe hadreputedly madeof it in 1937.According to Leeb,he madedrawings in lieu of photographing all fourpanelsof theTimesof Day (figs.29-32), justbeforehe bought themfromthe Comtede Saint-Leon. Leeb'sdrawing showsa composition consistent withthe otherthreepictures (nos.5,,lo, 1l). A heavyskyis broken bythe lightof a fullmoon,whichreveals a nude manwashedup on a rocky beach,a victimof drowning mourned bya desolate companion perhaps a woman. In the middledistance a woodenbridgeconnects a tower, possibly a Roman lighthouse, to a cliffsurmounted bya belvedere ortemple. Theseelementsarefreeinterpretations of structures foundin an engraving byPierre Mettais (1728-1759), a pupilof Boucher, who,likeJoseph Vernet, laterin the century, specialized in portscenes(fig.33);theyhavebeenadapted andusedherein precisely the samewaythatGericault incorporated similar borrowed motifsin Noon andEvening. No drawings in Gericault's oeuvre correspond exactly to the composition madebyLeeb,buttherearenonetheless somelooselyrelated works. Thereis a similar woodenbridge, forexample, drawn on a sheetof studiesin Stockholm (fWlg. 34),whichprobably datesfromtheyearbeforetheTimesof Day.A closer relationship canbe foundfortheposesof the fWlgures in Leeb'sdrawing, whichare comparable to thoseof twofWlgures, the so-called fatherandson,atthe leftin TheRaft of the Medusa.The drowned manin the drawing is shownin a poseanalogous to thatof the deadyouthin TheRaft, albeitreversed, whilethemourning companion assumes a poseroughly similar to thatof the olderman,orfather. Leeb'sdrawing doesnotmakethe sexof the companion explicit, although thereis somesuggestion of a woman's rounded hips.If the mourner is female,thenthe composition, withits prominent tower, mayreferto themythof HeroandLeander. Musaeus, Ovid,and
26

Figures 29-32 Drawingsof Morning (no. 5), Noon (no. lo), Evening(no. 1l), and the alleged fourthpicture depictingNight, which Nat Leeb made reputedlyin 1937, shortly beforehe purchasedthe set.

32

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Figure33 Louis Simon Lempereur (French,1728-1807) afterPierreJosephMettais (French,1728-1759) ThePasha'sPromenade, 1766 Engravingand etching, 153/4 x l8l/2in. (3g.gx46.gem) The Metropolitan Museumof Art, HarrisBrisbaneDick Fund, 1946, 46.127.1(27)

Figure34 Sheetof Studzes (recto) Ink on paper,71/8 x gll/l6in. (18x 24.7 cm) Stockholm,Nationalmuseum, NMH 285/1968

27

Virgil recount thatyoungLeander fromAbydos swamthe Hellespont fortrysts with his beloved Hero,a priestess of Venus, whokepta torchburning atopa hightower to guidehim.Onenight,justbefore reaching the shore,he failed.HorriEled, Hero watched fromthe toweras Leander's bodysmashed against therocks.In some accounts, Herohurlsherselffromthetoweranddies;in others, sheracesto the beach to retrieve Leander's corpse fromthewaves.Herois usuallyshowndressed whenshe reaches herdrowned loveron the beach,as in Taillasson's painting of 1798(lg. 35), butin the Leebdrawing the mourning figureis nude.However, sinceno specific mythological orliterary narrative hasbeenidentifiled in Morning, Noon,andEvening, thereis no reasonto expect to finda particular sourceforNzght. The settingand figures referonlyto a timeless,generic,Mediterranean antiquity. A painted study of a recumbent nudein AlenScon (fig.36)offers theElgure that is mostsimilar to thatof the drowned manin Leeb'sdrawing of Nzght. Strengthening theresemblance between theworks, the study wasfinished witha seascape androcks to suggesta shipwreck scene.TheAlenscon painting hasbeencal]eda studyforthe deadyouthatthe leftof TheRaft,the son,butit morecloselycorresponds to a filgure in one of Gericault's earlier studies torTheRaft,TheSzghting of theArgus, as shown in a drawing at Lille.The attribution of theAlenscon painting to Gericault, wholly endorsed byEitner, hasbeenrejected byGrunchec (1978, no. A202; see alsoEitner 1980, p. 209). The execution is atypically {laccid, andif it is byGericault, it would constitute the solesurviving studyin oil foran entirefilgure in TheRaft.Evenif it is notbyGericault, it maybe a reflection, perhaps painted byone of the artist's students, of thefilgure in Nzght. However, sincethe existence of Nzght is conjectural, anyrelation

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Figure36 to Gericault(?) Attributed ShiptreckedMan (.)) Oil on canvas,25s/2 x 317/8in.

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canonlybe speculative. oeuvre in oroutof Gericault's works to other LeebquitParisandwentinto the Occupation, during persecution Fearing after thewar,Leeb to the capital Whenhe returned hidingin LyonsandMarseilles. damsaidthathe foundone of thefourpanelsof theTimesof Day,Night, e xtensively a virtually involved in whichit waskept.Restoration agedbya leakin thewarehouse he couldnot remained, picture so littleof the original Because repainting. complete Bein,a thatLadislas Leebstated selltheworkalongwiththethreein goodcondition. in RiodeJaneiro, Nzghtandsoldit to an individual bought dealer, picture Parisian thethreeothers. purchased Ujlaky, Alexandre dealer, another whereas details andcertain Leeb'saccount to confirm it is impossible Unfortunately, from traced wereprobably of thethreeknownpaintings His drawings aresuspect. thanthe awkward andarethusmoreaccomplished orreproductions photographs thatall of Nzght,forwhichthereis no photograph yet Leebmain-tained rendition

Figure37 ClaudeJosephVernet (French,1714-1789) 1789 Pauland Virginie, Oil on canvas,34t/4 x 51 t/8in. (87 X 130 cm) Leningrad,StateHermitage Museum, Inv.1759 eighteenthOne of the best-known centun depictionsof a shipwreck, the paintingshowsthe drowned Virginiemournedby her lover, Paul, as describedin the eponymous novel.

29

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Parisfor a few weeks'vacationin Fericy,on the Seine near Fontainbleau.There he was moved by a newspaperaccountof a Parisianmasonwho fell to his deathfromscaffoldlngon the rue deRivoli.Inresponse,hemade this movingdrawingof parents theirson,raisingthescenefrom deurwith his classicalstyle.

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fourdrawings weremadein 1937in lieu of photographs. Itis truethatLeebcould haveredrawn his copies,usingreproductions of the threeknown panelsas guidesto improve them,beforegivingthemlastyearto the Metropolitan. However, it is hard to believethat,if it didexist,no photograph of Nightwasmadeatthe timeof purchase, restoration, orsale.In an interview lastyear,Leebremembered thatin 1937, through thegoodofficesof a womanhe thought wasMmeBoules,wifeof the "director" of the Arnerican embassy in Paris,the set of fourpanelswasoffered forpurchase to the director of the Louvre, Henry Verne. Verne reputedly refused thembecausetheywere no morethan"decoration." Quiteexceptionally, thereis no record of suchan offerfor purchase atthe Louvre whereas, forexample, thereis ampledocumentation of Baron Desazard's proposal to sellMorning to the Louvre in 1848.Furthermore, it appears thatno onenamedBoulesworked attheAmerican embassy in theyears preceding the German occupation of France.Leebwasprobably confusing the name BouleswithBullitt, sinceWilliamC. Bullitt wasthehighlyvisibleAmerican ambassadorin Parisatthetime.However, Bullitt wasnotmarried whilehe served in Paris. Onecannotconfirm Leeb'sstatement thatNightwasexported to Brazil. Ladislas Bein,to whomLeeballegedly soldtheworkin 1949,wasnotincluded in any of the businessdirectories forthatyear.His officeat 8 rueDrouot is fXlrst listedin 1950, buthe didnothavea telephone, a peculiar circumstance foran artdealer whocould afford to buya largeGericault, ruinedornot.His firmhadno successors, andhis business papers, if he hadany,cannotbe found.Alexandre Ujlaky, on the contrazy, waslistedbothyearsat4 rueDrouot, andhe didhavea telephone. Philippe Brame, theParisian artdealer, whoin 1952purchased NoonandEvening, thetwopaintings
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whose intermediary themfromyet another bought byUjlaky, handled reputedly Comte name.Thepresent Ujlaky's He doesnotrecognize namewasnotrecorded. yearsoldin 1937anda wasthirteen of the collector, thegrandson de Saint-Leon, detailsof it. buthe didconf1rm Leeb'sstory, He doubts to Jeurre. visitor frequent pictures of the Gericaults yethe doesremember recollection He hasno specific of his in the ceilingof the SalonRose.Whenhe wastoldLeeb'saccount installed thatLeebmusthaveknown he recognized difficulties, financial grandfather's velywell. his grandfather Leebsaidlastyearthattherewasno one else alivewhowouldhaveseenthe Leebdiedthisyearwiththe enigmaunexRegrettably, missing,landscape. fourth, with Leebhadbeenin contact remaining. questions plainedandwithbothersome Dubaut, work-among themPierre of Gericault's scholar modern important every English-speaking the greatest Eitner, Lorenz anddealer, collector, theconnoisseur, studies in important of several theFrenchauthor Grunchec, andPhilippe authority, The lithograph copyhe ownedof Gericault's a painted to authenticate an attempt then,didhe notreveal Train.Why, Coal Wagon,whichLeebcalledTheArtillery he hadmadeof it untillastyear, andthe drawing landscape of thefourth the existence the to gainfrominventing soldNight?Leebhadnothing yearsafterhe reputedly forty Could as a fabricator. to loseif he wereexposed of Night, andsomething existence Is it so persuasively? composition enoughto inventthe fourth Leebhavebeenclever through theprocess himwithtoomuchskillto believethathe recognized crediting in thethree Bourgeois andConstant motifsfromVernet borrowed whichGericault whenhe borthisprocedure duplicated andthenconvincingly landscapes known No, of IVight? his rendition to create artist, a vetyobscure from Mettais, rowed
39 Figure
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31

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he obviouslyknew the Gericaultliteratureverywell, in additionto the literatureon Theodore Chasseriau(1819-18$6), a Romanticpainterwho combined elements of Leeb copied the figuresin with Delacroix'simageny.In all probabilitEy, Ingres'sstEyle his Nightfrom a sketchin the Louvre (see fig. 39) that reproducesa compositionof a of about 1835. (This painting,long lost, has paintingby Chasseriau,Shipwrecked, only recentlyreappearedin a Paris privatecollection.)The relationshipof the it is possible Chasseriaudrawingto Leeb's is too close not to be incriminating.VVhile that Chasseriau,who borrowedotherposes from Gericault,may have based his was not compositionon Gericault'sfourthlandscape,it is far more likely that Nzght painted. For how can one explain awaythe inconvenientfact that only three canvases, and not four,were deliveredto the artist'sstudio?There is no evidence to suggest that Gericaultused more than one supplier,and the detailed invoice, coveringthe period from the artist'sreturnfrom Italyin 1817to his departurefor London in 1820, clearly lists only three large canvases in additionto the canvasused for TheRaft.To recognizethat Gericaultpaintedbut three panels has furtherimplications.If there had been a commissionfor a decorativeensemble, the artistdid not complete it, since the Times of Day are traditionallyin sets of four.An incomplete commissionwould not have been installed, nor, indeed, in the absence of a commission,would Gericault have offeredthe three paintingsas a gift or planned to exhibitthem. Furthermore, 4o, 41) indicate that Gericault two previouslyunpublisheddrawingsin Bayonne (fWlgs. had apparentlyconceivedof a complete set of the Times of Day in a horizontalformat before he paintedthe verticallyorientedcanvasesnow in Munich, Paris, and New York.The recto probablyrepresentsNoon and the verso Night. (Althoughthe
32

Figure40 Landscape Barkin a Stormy (Noon) on paper, Gouacheandwatercolor 41/8 X 57/8 in. (lo. x 14.9 cm) Bayonne,Musee Bonnat, Inv.713R

Figure41 PortScene(Night) Gouacheandwatercolor on paper, 42/sxs7/sin. (10.5X14.gem) Bayonne,Musee Bonnat, Inv.713V

fWlshermen's barkandthetreesof therectoresemble thosein Morning [no.5] andthere is a thunderstorm as in Noon[no.lo], bothdrawings aremoreconventional and dependent uponVernet's landscapes thanthe compositions of thefWlnal paintings. See introduction, fWlgs. 18-21.) Onethingseemslikely: if Gericault hadpainted Ntght, he probably would havefollowed the eighteenth-century conventions of landscape in cornpleting the serieswiththe depiction of a shipwreck ordrowning. Diderot considered Vernet's shipwrecks crucial to his sequences of landscapes, lendingresolution andmoral authority in addition to drama. Thethemewasso wellestablished, as Lochhead has shown(1982,p. 85),thatwhen,in 1781, thepainter de Loutherbourg builtin London hisEidophusikon, a precursor to the diorama, theprogram always included a storm andshipwreck as the conclusion to theTimesof Day.The sightof the aftermath of a shipwreck inspired a fearof nature's unfathomable power, the horrifWlc blacklining to nature's silvery clouds.Disaster sceneswerethewell-marked pathto the sublime, thatreservoir of deepfeelingbeyond therealmof the superfWlcially beautiful. Soon afterthethreecanvases of theTimesof Dayweredelivered to his studio,Gericault became consumed withworkon a greater essayon the sublime,The/taftof the Medusa so muchso perhaps thathe neverundertook thepainting o-f the fourth Time of Day.Although in the absence of the fourth picture ourexperience of the seriesin thepresent exhibition willnecessarily be incomplete, we canturnforresolution to Gericault's TheDeluge(no.13),hiswatercolor of TheRaftof theMedusa (no.14),and hisDrowned Woman andChild on a Beach(no.15,) to contemplate thebeautiful, andtrulysublime, specter of deaththathaunts theselandscapes.

33

1.

STUDIES FOR DECORATIVE PANELS

1816? Graphiteand wash (recto);graphite (verso); on paper; 65Ax 9 /, 6 in. (17.2 X 2 3 cm) The ArtInstituteof Chicago,Gift of Tiffanyand Margaret Blake, 1947.35 folio 43

GermainBazinrecentlyidentifXled the building justabovethe bird'sbeak at the far left of the verso drawingas the Chateaude GrandChesnay,the countryhouse of Gericault's maternaluncle, Jean-BaptisteCaruel (17571847),latercalled Caruelde Saint-Martin. Caruel'ssecond wife, Alexandrine-Modeste de Saint-Martin(1785-1875), was twentyeightyears youngerthan her husbandand six years olderthan Gericault.She broughtconsiderablewealth, some old masterpaintings, and a noble title to the Caruelfamily.She also broughtgreatturmoilto her home when she became her nephew'sclandestinelover sometime around 1814. A numberof pages fromone of the artist'ssketchbooks(now partof the album in Chicagothatwas assembledfrom several sketchbooksafterthe artist'sdeath) show informaldrawingsof the environsof GrandChesnayand neighboringVersailles.Since otherpages show newbornkids, it would seem that the sketchbookwas used at GrandChesnayin the late springor summer,but it is not knownin which year.The Caruels stayedat Grand-Chesnay frequentlyafter 1813,when the artist'suncle became mayor of the village. Gericault,a memberof the king'smusketeersfrom 1814to 1816,was garrisonednearbyat Versaillesin spring1815. The followingspring,he preparedfor the Prix de Rome competitionin Paris,but he could easily have escapedto Grand-Chesnay at a moment'snotice.As will be demonstrated, there is good reasonto believe that this portionof the sketchbookwas used in spring 816. On both sides of this sheet Gericault sketchedideas for compositionsin the grand mannerthat included game or exotic fowl. Somewhatamateurishly, he evokespaintings by Oudry,Desportes,Hondecouter,and the seventeenth-century Dutch game painters, but withoutreferringto a knownwork. (His copies of similarpaintingsby Pieter Boel and

Recto

Deshayswere perhapsdone concurrently.) On anothersheet in the album are strangely artlessdrawingsof fowl relatingto severaloil sketchesof barnyard animalsthat seem to have been made at aboutthe same time. On the recto is a landscapewith large trees in the foregroundcomposedin a mannerthat conformspreciselyto the definition of the picturesqueas formulatedby the eighteenth-century English writerWilliam Gilpin a compositionrepeatedon folio 58. Gericaultdid not go on to paint any pictures using the homely picketgate, but seems insteadto have developedhis ideas in terms of tall and narrowdecorativepanels of the kind thatwere often fittedinto the boiserie of French eighteenth-century rooms. On the verso Gericaulteliminatedanimalsfrom the verticalcompositionsand focused on assemblagesof landscapemotifs in an Italianatestyle.Additionalsketchesfor these narrowpanels appearon folio 42 recto of the same sketchbookand on a separatesheet

34

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that includesfourteensketchesof panels, half of which seem to be for smallerpanels or for overdoorpaintings(Elg. X a). As Gericault workedon an idea, he typicallydrewsmall boxes on his page and Sllledthem with alternativecompositions: thusthe sheet in Bayonne does not representa cycle of fourteenpanels but, rather,it shows him workingout two or three compositionalstrategies. Gericaultelaboratedhis ideas for these panels on anothersheet (Elg. lb) that
Figure la StzWiesfor Decorative Panels Graphite on paper,8 i16 X 10 16 in. (21.1 X 26.8 cm) Bayonne,Musee Bonnat, Inv.802 V

includesan importantclue to the date of this project: a sketchat the upperleft representing, accordingtoGermainBazin,OenoneRefusing to Save theDyingParis.This obscureincident was the subjectgiven for the third,and final, roundof the Prix de Rome competitionin March18 16. AlthoughGericaultwas eliminatedbeforethe final round,he made a numberof drawingsdepictingthe subject,as if he were still competingat the Ecole des Beaux-Arts.His drawingsof the dyingParis count among the few workssecurelydatable to the firsthalf of 18 16, that is, beforethe artist's departure forItaly.Gericault's drawings of decorativelandscapesin fig. Xb were made overthe sketchof Paris, and thus cannotdate beforeMarch 1816.LorenzEitnerdatedthe sketchbookand relateddrawingsto about 1814,but Christopher Sells, withoutreferring to the landscapedrawings,has recentlysuggested that this portionof the Chicagoalbum datesto 181 7-18. The laterdate would place this sheet justbeforethe large landscapes? the Times of Day,which can be documented to summerand autumn 1818,but the style of this drawingis ratherdifferentfromthat of drawingsknownto date to 1817-18. Furthermore, while it seems likely thatthe drawings were done at the Chateaude Grand-Chesnay, it is improbable that the artistwould have spentmuch leisuretime there in spring 18 18, when his auntwas fiveto six monthspregnant with their illegitimatechild. LorenzEitnerwrotein 1960that "it is not impossiblethat [thesel sketches representthe beginning stage in an enterprisewhich finallyled to the paintingof the two large panels."(Onlytwo of the three large landscapes,Noon and Evenio? which he datedto 1814,were then known, and Eitnerdid not associatethe drawingswith the Chateaude Grand-Chesnay.) One may now concludethat Gericaultfirstconceiveda projectof decorativepanels at his uncle's estate, probablyin spring 1816,and that they

35

may well have been intendedto adornthat house. One can furtherspeculatethat Gericault's large landscapesof 1818,although farmore ambitiousin scale and conception than the projectrepresentedin the 1816 sketches,originallymay have been destined for Grand-Chesnay. There is an importantlink between the earlysketchesand the final paintings:the figureof a seatedmale nude with an outstretchedarm, firstused in the Bayonne drawings(figs. la, lb), reappearsin the foregroundof Evening:Landscapewith an Agueduct(no. 1l). Gericaultmade a highly finisheddrawingfrom a live model in this pose (fig. 1C). Dated by most scholarsto 1816, its relationshipto the decorativelandscape studies or to the Times of Day has not previouslybeen noticed.

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36

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On the versoof this sheet the artistmade what seem to be the firstsketchesfor a compositionwith a musicalboatingparty. Looselybased on a paintingin the Louvre attributed in Gericault'sdayto Annibale Carracci(fig. 2a), the drawingshowswomen serenadedby a lutenistin Renaissancecostume. Their gondolais propelledby a polewieldingboatman,whose energeticpose characteristically preoccupiedthe artist.Over a dozenalternatives forthis figurewere drawn on two sheets now in the Musee Bonnat, Bayonne(inv.nos. 2085, 2086); some of those sketchesmay also relateto a similar figurein a watercolor,Bark in a Stormy Landscape, also in the Musee Bonnat(see p. 32). The same boatingpartyas that seen here is more clearlydrawnon the versoof folio 49 of the Chicagoalbum (fig. 2b),where one woman is accompaniedby two com-

panions.The two wash landscapesketches on folio 48 versomay be the artist'sideas for the sylvansettingwhereinhe would place the boatingparty. In 1954,when Eitnerpublishedthe firstscholarlyarticleon the landscapesnow in Parisand New York,he recognizedthat the germof the Parispicture, Noon:Landscape witha RomanTomb(no. 10),may reside in these sketchesof the boatingparty.In a fascinatingtwist,Gericaultkept the boat in Noonbut canceledthe party. The festivemood of the troubadour costumepiece becomes forebodingin the painting,and the serenaded woman is accompaniedby a child as well as a man, who seeks pressinglyto boardthe boat as if to be ferriedacrossthe river.A sense of urgencyreplacesthe timeless idyll of the drawing.

37

What has not been sufficiently stressedin the pastis the familialresemblance to Annibale attributed of the paintingformerly Carracci itself harkingback to the Venetian traditionexemplifiedby Giorgione'sFete (Paris,Musee du Louvre) to champetre Gericault'sset of large landscapes.Noon, in displaysa similarRomanbridge particular, leading to a castellatedtower,and the river and distantmountainsare disposedin an analogousmanner,albeit reversed.In his landscapesGericaultobviouslywished largc) to recallthe traditionof the composedlandscape in the grand mannerto which Annibale had made such a significantcontributionand which his brotherAgostinohad popularized throughengravings.But Gericault,appropriatingpast artwithoutapology,made his worksmodernwith a dramaticshift in mood and scale. The recto of this sheet presentsa kind of catalogueof Gericault'songoing projects,forwhich there are many sketches amongthe pages of this sectionof the Chicago album.They have been identifiedby Eitner for as, fromthe top left:an equestrianlSlgure one of the paintingsof the trumpeterof the Polish lancers;a Mamlukrider;Napoleon on horseback;a cavalrybattle;and Xerxesattackedby two lions. On the second register is a wounded officeraided by the son of a pasha, a scene repeatedmore faintlybelow, and Marsand Herculesseparatedby Jupiter's thunderbolt,repeatedagain to the right. At the bottomright is a sketchof a rearing horse, and, at the center,an Italianate landscapewith a poplaror a cypress. Eitner datesthis sheet to about 1814,but Grunchec(1985, p. 115)suggests that some of the compositionssketched on the recto, such as that for the trumpeterof the Polishlancers,maydateto afterGericault's returnfromItalyin late 1817.Christopher Sells dates this portionof the Chicago album, the projectedcompositionsof Polish lancers,

and the cavalrybattleto 18 17- 18. However, it seems likelythat Gericaultworkedon his first,unrealizedprojectof decorativelandscapes in spring1816(see no. 1).If this suppositionis correct,then the sketchesfor the boatingpartyon the versomay date to thatyear;otherwise,they would have been made upon Gericault'sreturnfromItaly.

Figure 2a GiovanniBattistaViola (Italian,1576-1662)

ontheWater Concert
Oil on canvas,15i, x 20l/2in. (40 x 52 cm) Pans, Musee du Louvre, Inv.208

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Figure 2b (verso) Graphiteand pen on paper, in. (17.4X23 cm) 67/sxg^/,6 The ArtInstituteof Chicago, Blake, GiftofTiffanyandMargaret 1947.35folio 49
Sheet of Studies

38

TIVOLI OF VIEW 1816-17

brownink, and graphiteon Watercolor, l63/sin.(22.4X41.5 cm);signed paper,8lM6X pinx./ and inscnbedlowerleft: Gericault Tivoli Geneva,GalerieJan Krugier

before artists of French Likegenerations thatanextended recognized him,Gericault as an tohisformation wascrucial stayin Italy andunderstood Tobe seen,copied, artist. thegreat of antiquity, werethemonuments of theRenaissance, andaltarpieces frescoes of decorations Baroque andthesplendid Muchof importance andpalaces. churches buthe knewfromreproductions, he already of theseworks. experience firsthand lacked he attheageof twenty-four, 1816, Inspring forthe attheEcoledesBeaux-Arts competed stayattheFrench Prixde Rome,a five-year classes, in Romewitha freestudio, Academy He madeit anda livingallowance. models, butlostin thesecond. round thefirst through perfromhisfather secured he Undeterred, a family with and Italy, to go to mission 1816, in hand,he leftin September annuity cut he which trip two-year a for ostensibly impressed profoundly was bya year.He short

by the experience.Accordingto Clement, "Llehad trembled the artist'sbiographer, beforethe mastersof Italy,had lost all selfconfidence,and only slowlyrecoveredfrom his agitation"(quotedin Eitner 1983,p. Ioo). AlthoughGericaulttraveledextensivelyin Italy,he seems not to have been fabled landscape. seducedby the country's Unlike his illustriousFrench predecessors, Claudeand Poussin, he was not intriguedby ruins,which, with the excepthe picturesque tion of a few monumentssuch as the temples at Paestum,he did not draw.In contrastto the Frenchlandscapepainterswho arrivedin Rome at aboutthe same time Bertin, Caruelled'Aligny,Michallon,and Corot he did not seek to capturethe stronglight and clear skies upon which an entire school of paintingwould be tounded.Instead,he focused his ambitionson monumentalfigure painting.As Eitner succinctlyobserved,

39

"'Nature'as [Gericault]understoodit was embodiedin the human or animal form, not in mountainsor trees" (1983, p. 142). In this regard,Gericaultresponded to Italymuch as the Neoclassicalpainters David and Ingreshad. They,too, ignoredthe landscapefor the most partbut nevertheless left a few informalyet remarkablepaintings and drawingsof views they had experienced. Gericault, likewise,made onlya smallnumber of watercolorsand drawingsof Italiansites, but they tend to be carefullyworkedand formal.The greatestof them is this view of Tivoli, the hilltop town northeastof Rome whose cascadeshad been a favoredmotif of painterssince antiquity. As an English artist wrotehis patronin 1758, "Thisancient city of Tivoli . . . has been the only school where our two most celebratedlandscapepainters, Claude and Poussin, studied"(quotedin Vaughan,p. 43). To make this watercolor, which he proudlysigned Gericault pinx.,

himself atthebelvedere onthe he positioned theroadthatwindsout viadelleCascatelle, to obof thecityawayfromRome,in order Cascades tainthebestviewof boththe Grand butin a characteristic andthe Cascatelli; Gericault madethe spectacular departure, barely visible in thedark chasmat waterfalls, incidental to thepicture. Refusleft,almost orsubordinate particular ingto highlight he instead delineated the entire elements, himwitha meticulousness that scenebefore on obsession. Moststriking is his borders of naturalism: thereis no atrenunciation atmosphere, thetimeof day, tempt to suggest ofhis experience atthat ortheparticularity Gericault's imageis so timeless that moment. to learnthatit onewouldnotbe surprised froman engraving suchas hadbeencopied Dughet's numerous viewsof oneof Gaspard Gericault sifted Tivoli. Evenoutin nature, through thefilter of pastart his observations a grand manner. in order to achieve

4o

4*

MONTMARTRE OF VIEW
1816-20? gouache, and graphiteon Watercolor, in. (l 8.7 x 26.4cm);verso: x l 03/8 paper,73/8 LapithandAmazon Geneva,GalerieJan Krugier

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Throughouthis career,Gericaultconsistently soughtto extractthe maximumexpressive potentialof any given motif. Here, he took with its windmill the skylineof Montmartre, made familiarby the paintingsof Georges Michel, and, by stronglycontrastingshadow to sky,renderedit mysteriousand somewhat he made a straightominous.In preparation, forwarddrawing,which he lightlycolored the (fig. 4a). But in the presentwatercolor, effects are intensifiedand the oppositeof what the viewerexpects:the clouds appearto be blue and the skywhite, and the sharp

thanreveals rather conceals almost daylight a Thereis nevertheless below. thevillage givento alltheforms substantiality vigorous to hisMichelangelequivalent a landscape himself Gericault Although style. figural esque antipicturesque this develop didnotextensively of upin hislargelandscapes style,summed he used tonalcontrasts thedramatic 1818, in thenextdecade herewouldbe exploited painter, landscape theRomantic byGranet, Hugo, byVictor andin thenextgeneration inkdrawings. forhisremarkable

41

---

s S ss

Figure4a Viewof Montmartre (detail) Graphite, wash, and gouacheon paper,87/,6xlo/2in. (2l.sx 26.7cm) Paris,Ecole des Beaux-Arts, Inv.E.B.A.,no. 973 Gericaultfrequently placed unrelatedsketcheson the same page. Althoughlions are usually associatedwith the artist'sstayin London,he in fact drewthem throughouthis career.

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In 1813Gericaultand his father movedto 23 rue des Martyrs in Montmartre, a modestvillage on the heights just northof Paristhat became a locus of artisticactivity in the firstyears of the nineteenth centue and remainedso until the FirstWorldWar. Since Gericaultlived in the same building until his death in 1824, it is not knownwhen the presentlandscapewas made. It is one of a handful of drawingsand watercolorsof Montmartre executedfor the artist'spleasure. Unfortunately, the drawingon the verso,a copy of an engravingin lVlontfaucon's L'Antiquiteexpliquee et representee enJ;gures (1719) of a relief depictinga battlebetween a Lapith

and an Amazon,cannotbe securelydated either.The style and subjectof the verso, drawnbeforethe landscape,suggest a date no laterthan 1815-16. Eitner dates the landscape to beforeGericault'sdeparturefor Italy in 1816(Buhlersale catalogue,no. 49), but the portentousmood and the combinationof wash and gouache may both point to a date afterthe returnfromItalyin 1817.The work is similarin style, for example,to the three watercolorstudies of sea and sky preparedin 18 18- l g for TheRaftof the Medusa(Bayonne, lVlusee Bonnat,inv.nos. 800, 801, and Paris, privatecollection).

42

WITH LANDSCAPE MORNING: FISHERMEN 1818

x 8534in. Oil on canvas,985/8 (250.5 x 217.8cm) Munich,Neue Pinakothek,Bayerische Staatsgemaldesammlungen

43

In the cool, gray,diffuselightof earlymorning, five fishermenlaunch theirboat. A largevilla and a portionof an aqueduct,guardedby a fancifulbaldmountain,hold the middleplane, while the snowcappedrange, the sourceof the wide river,closes the distantview.An outsizeumbrellapineand palmtree,indicators of the tropicalItalianclime, dominatethe scale and establishthe gargantuan foreground of the series of the Times of Day. DuringJuly and August 1818,at intervalsof two to three weeks, Gericault's colormerchantand supplierdeliveredthree eight canvasesof identicalsize, approximately by seven and one-half feet. On these canvases the artistpaintedthis picture,now in Munich (no. 5), and those in Paris (no. lo) and New York(no. 11). It would appearthat the present picture,Morning,was the firstto be painted. That six relateddrawingssurvive,more than for either of the othertwo panels, suggests that the workwas thoroughlyprepared.The paintingitself conformsclosely to the predrawingsand was carefullyexecuted paratory few pentimenti.Noon and with comparatively seem to have been Evening,to the contraxy, with numerous paintedmore spontaneously, Yetfor all revisionsand some improvisations. Morningis, in one respect, of the preparation, the most originalof the worksin the suite: although,like the others,it immediatelyanlandscape nouncesits affinityto the decorative traditionof Dughet and JosephVernet,it does not include any specificquotationsfrom picturesby otherartists.There are of course similarfancifulmountainsto be found in landscapesfromPoussin to Vernet,but such In his 18l7 a motif was common currency. manual on landscapepainting,Lecarpentier warnedthat "thereare few objectsin nature that have been so often disfiguredin painting as rockymountains,"and he exhortedartists "to imitatetheirbizarreformsjust as nature presentsthem, withoutdeformingthem or pp. 115- 116). uponthem"(1817, embroidering In its partsMorningis wholly Gericault's invention,althoughin its sum it is the most conventionalworkin the series;the artist took greaterrisksand libertiesin the others. This paintingis the only one of the set of large landscapesthat Clement knew.

He describedit in his catalogueas "in the mannerof Dughet" and mentionedit in the contextof Gericault'smarines such as no. 15 which he thoughtwere laterthan this landscape,to which he assigned a date ol "perhaps"1812-14. Because Clementwrote that the fishermenoccupythe second plane (insteadof the foreground), of the composition some modernscholarshave suggestedthat he had not actuallyseen the painting.However,he most certainlydid see it at the 1859 sale of AryScheffer'scollection,for which he was listed in the catalogueas an "expert" consultantto the auctioneer.Clement recountedthat a pendantto the paintinghad been visible in Gericault'sstudio,presumably the large space in the faubourgdu Roule, while he was paintingTheRaftof theMedusa. No doubtClement had been given this informationby someone who had actuallybeen there,such as Gericault'sstudentA. A. Montfort.Curiously,Clement did not commenton the aestheticmeritof the painting,nor did he remarkon its great size, which he accurately recordedto within a few centimeters.[Ie did not speculateon the existence of the third panel, not to mention a fourth,and, to our he did not leave a greatdisappointment, that single clue regardingthe circumstances led Gericaultto make the set. This paintingwas the last of the in this century.It series to be rediscovered at a Parisauctionin 1959,while reappeared Noon and Evening(nos. l o, 11) were publicly exhibitedin 1953.Thus when the seminal articlesannouncingthe discoveryof the other two were published,the existence of Morning was unknown.On the otherhand, it was the only one of the series to appearin public in the nineteenthcentury,on the occasionof the 1859 auctionof the Scheffercollection. visiblefor only two or three It was probably daysbeforedisappearinginto privatehouses for exactly100years. In a reviewof the sale, PhilippeBurtyleft the sole opinionrecorded in the nineteenthcentury:"The fishermen arepaintedwell enough [ontune assezgrande tournure],but the sky is cold, the shadows black, and the ensemble is badlycomposed."

44

(no. _ > Figure c_s_ -_< ^ t and _being of out : he 5): - v this modified sketches, zh, remained there pulled the watercolor. while basic are the ' to reducing now true RF the no profile lost, 1 to right. Its trees composition. it 7a 1670 the slightly in self-assured of which Nevertheless, in overall V theEhe inthe fantastic size. foreground, artist appearance execution, Nevertheless, all worked rock, the
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LANDSCAPE MORNING: FOR STUDY FISHERMEN WITH 1818

brownink, graphite,and Watercolor, X 8X/8 in. 9X/8 blackchalkonwhitelaidpaper, (23.2 X 20.7 cm) The Fogg Massachusetts, Cambridge, Bequest UniversilOr, ArtMuseum,Harvard of Meta and Paul J. Sachs

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Landscapewith forMorning: Thisstudy mostbeautiful oneof Gericault's Fishermen, is allthemoreimpreswatercolors, landscape scene. animaginary siveforrepresenting UnlikeViewof Tivoli(no.3),whichis a of thearchilinearsurvey kindof miniature town,thisworkis of thehilltop tecture receding of large planes composed majestically to thefartherprogression in a convincing onthehorizon. mostrangeof mountains Gericault withgreateconomy, Working ofwash-blue and neededonlytwocolors andsuffuse thelandscape brown-to render light. it witha unifying anearlystage Thissheetrepresents picture fortheMunich of thecomposition

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45

in later his sheets figures Bayonne stay ofof pushing, the in studies Italy, (fig. two shown for pulling, The 7b). the here, Race Itfivewould of andrestraining since fishermen the the appear Riderless group in that t < _ <ffi ,,, ,^

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7 STUDIES OF FISHERMEN 1818

Brown inkonpaper, 131/.6 x 77/8 in. (33-2 X 20 cm) Private collection

8. STUDIES OF FISHERMEN 1818

Brown inkonpaper, 51i.6 (14.8 X 20 cm) Private collection
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Apart fromhorses, littlefascinated Gericault morethanthehuman figure straining against a load.Thetwomostambitious projects of
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animals; to prepare forthem,he executed several studies of nudemodels pulling ropes. Drawn after hisreturn to Paris, thesetwo
Morntng

(no.5) werenotmadefromlive models butfromthearost's lmagmatlon, whichbythenwaswellstocked withan inf1nite number of posesobserved under a variety of condltions. Thesesketches weremadeafter the Foggwatercolor (no.6), in which'the fishermenlaunch theboatto theright, butprobablybefore theDijondrawing (no.9).The Herculean figures alsopullto therightin a sketch ontheverso of a drawing in the Louvre (fig.7a).Gericault drew thefishermenpulling in bothdirections in a drawing thesheetwiththeboatatupper right wasthe

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_ p peated properly be onethe ofidentified the composition very first as abut study sketches gave forthe for the mountain Evening large

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reproduced andwidely exhibited Although in retrospective greatGericault sincethefirst in the likethewatercolor 1924,thisdrawing, Fogg(no.6),hadtowaitforthereappearance it couldbe before in 195,9 (no.5,) ofMoming tested leftGericault Attheupper landscape. treesto the oftheforeground theaddition laidoutin theFogg already composition of thesheethe reAtthebottom watercolor. in thepainting. thatappears thenewprofile oftheboat,whichis fromtheposition Apart the oftheforeground, stillcloseto thecenter respect important in every conforms painting tothisdrawing. righthas attheupper Thesketch ofthesame a variant beenconsidered always quitedifferent. butit is obviously composition, river, andbroad mountain Withits central attheleft,it must fromthedistance flowing ofthree (no.1l). Hadthebillforthedelivery in studio to theartist's ofthelargecanvases thissheetalone notbeendiscovered, 1818 simulthatGericault proof besufficient would thelargecanvases or, conceived taneously and attheveryleast,twoofthem,Moming thathasbeen a question Evening answering years. foroverthirty byscholars debated

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47

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NOON: LANDSCAPE WITH AROMAN 10MB 1818 Oiloncanvas,981/2 X 86 XA in. cm)

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48

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Figuresloa, lob Bourgeois FideleConstant Florent 1?6?-l84l) (French, and ofPlautius, ofthe Tomb View Metella, of Cecilia of theTomb View devuesetfabriques fromRecueil 1804 d'Italie, pittoresques x 22i8 in. 1?24 Etchings, (45.1x 56.8cm) TheMiriam Collection, S.P.Avery of Art, Division andIraD. Wallach TheNew andPhotographs, Prints, Lenox, Astor, PublicLibraxy, York andTildenFoundations

in a deepgathers thunderstorm A midday mounThepeaksof thefarthermost bluesky. withsnow, covered tainrangearealready andsheetsof rainfallin themiddledistance. alongthe windblowsthecypresses A strong andchild,seekA man,woman, riverbank. a pairof implore thetempest, ingto escape themto to carry in a smallbark filshermen theymighthavetakenis thebridge safety; behind Looming impassable. and broken in its and tomb, Roman themis anancient limbshangfroma pole. twosevered shadow the thatfrightens a storm Itis thusnotsimply of death. it is thespecter family, conventions to theestablished True animated Gericault painting, of landscape of Noonwitha thunderstorm. his depiction beenthe hadalways andafternoon Morning painters bylandscape timesof dayfavored fromtheslantresulting theshadows because of fortheillusion inglightwerenecessary created lightof midday Thestrong depth. obnoticed, AsDiderot pictorially. problems with "inundated jectsatnoonarevirtually flatin (Salons,III,p. 272) andtherefore light" theNeoclassical Valenciennes, appearance. accodified andtheorist, painter landscape in an artist's whenhe wrote practice cepted is themostconveof 1799 that"noon manual spectacle theterrible nienthourto represent (p.435). orhurricane" of a storm andpraised wasknown Vernet Joseph athigh storms of raging forhis depictions thatGericault noon,andit is no coincidence cyclesas landscape celebrated tookVernet's hismodelfortheTimesof Day.Gericault in the Vernets withthegreat wasfamiliar not did he if seen, have andwould Louvre landscapes Vernet's after own,theetchings son Joseph's Vernet, madebyCarle mayalso Gericault teacher. andGericault's Szczepinska-Tramer asJoanna havestudied, of analysis in herexhaustive suggested teacher, byVernet's Noon, a painting Landscapewith Called Manglard. Adrien
49

W-\e->|@s SPo
the Capodi Bove, it displaysa Roman tomb similarto that in Morning,as well as a comparablerelationshipof figuresto ground and sky to water.It hangs now, as it did in Gericault'sday,in the Doria-PamphiliiGalleryin Rome along with an extraordinary collectionof fine landscapesby Poussin, Claude, GaspardDughet, and SalvatorRosa, all of whom contributedto the traditionthat Gericaultchose to follow.Indeed, the impact of the Doria-Pamphiliicollectionon Gericault'sheroic landscapeswas so strong was able to intuit that Szczepinska-Tramer thatthey could not have been paintedbefore the artist'sItalianvoyage.Her observation by documentationin 1980, was substantiated when the invoicefor the deliveryof the three canvasesin summer 1818was discovered. Otherpictures,such as the landscapewith a to Annibale boatingpartythen attributed 2a), had their effect as well. Carracci(fWlg. Following the example of Vernet, Gericaultassembledthe motifs forNoon from a varietyof sources,creating,for example, new monumentsof antiquitywith a few strokesof the brush.The large structureat the rightis a contlationof the tombs of Plautius,near Tivoli, and Cecilia Metella, closerto Rome, both of which Gericault undoubtedlysaw. However,for this painting he relied not on memoryor sketchesmade fromnature,but on etchings publishedby ConstantBourgeoisin an album of 1804
o

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Figure lOC Thomas AntoineJean-Baptiste (French,1791-1834) Ploughing from UnAn a Romeet dansses environs. Recueilde Dessins Lithographies [Paris,1824] x 9-gA8 in. (18.4x 25 cm) Lithograph, 71/4 Museumof Art, The Metropolitan Giftof HartyG. Friedman,1967, 67.519

(figs. 1oa, 1ob), takingthe fragmentof a wall with pilastersfromthe engravingof the tomb of Plautius and applyingit to the basic structureof the tomb of Cecilia Metella. (Gericault also must have seen Bourgeois's1817lithographof the tomb of Plautius.)The bridge, roughlybased on the Ponte Rottoin Rome, also seems to have been adaptedfromengravings,but a specificvisual sourcehas not yet been identifWled. The severedlimbs hanging on a once pole, easily overlookedyet unforgettable they have been seen, constitutethe one motif in the paintingthat Gericaultpaintedfrom memory.It is unusual,given how little is known aboutGericault'sdaily life, thatwe have the testimonyof a fellow artist,A. J. B. was with Gericault Thomas,who probably when he encounteredthe sight. Thomaswon the 1816Prix de Rome that Gericaultlost, and they both were in Italyin 1817.They seem to have accompaniedone anotheron fWleld tripsand sketchedside by side. In 1823 Thomas publishedan album of lithographs, in which he collectedpicturUnAna Rome, esque incidentsof daily life that he had witnessedduringhis stay.In the note to plate oc), he described,"atthe side of XXXVIII (fig. 1 a road, a pole fromwhich were hung severed armsand legs, on which crowsfed. One frequentlyencountersthis hideous spectacle in Italy,often in places far from any help Banditshave committeda crimethere, and

Figure lod Bartolomeo Pinelli (Italian,1781-1835) TheBrigands,1822 Etching,107/8X 75/4in. (27.7x 1g.7cm)

Figure loe Studyof Severed Limbs Oil on canvas,20l/2x 25l/4 in. (52 x 64 cm) Montpellier, Musee Fabre, Inv.876.3.38

theirarmsandlegsarebrought backto the spotafter theexecution of theirpunishment." A copyofThomas's album wasin Gericault's possession athis death bythetimeit was published, he wasalready mortally ill. As Thomas Szczepinska-Tramer hassuggested, probably offered it to Gericault as a souvenir of theirdaysin Italy. Pinelli,thenineteenthcentury master of Italian genrescenes,also published anetching ofbandits contemin plating thehunglimbsof a former partner crime, butthisworkof 1822 (fWlg. lod)could notbe saidto haveintluenced Gericault. Although Thomas refers to thespectacle on as common, noneof theusualwriters Italian custom Lalande, Tambroni, the Santo-Domingo, Stendhal mentioned practice, withtheexception of LadyMorgan with (seeSzczepinska-Tramer 1974). Yet Gericault's intenseinterest in themacabre, to onesighting wouldhavebeensuffWlcient searit onhismemory. Themotifanticipates thesubject ofhisgreatest andmostsingular loe) works, thestilllifesof severed limbs(fWlg. Thought to havebeenstudies forTheRaftof the Medusa,a project we nowknowto have

withthepainting of the been contemporaneous autonomous Timesof Day,theyareclearly thegruesome beauty works that portray frankly onlyindirectly of death,a subject broached in Noon thecomposition of Insomerespects, of theseries. Withits Noon is themostdaring in a brilliant warm whiteclouds billowing to a ultramarine sky, it begscomparison contrary Poussin, butin his characteristically theharmonic manner, Gericault displaced elements that relationships of compositional style.Thetombis too arecentral to Poussin's large,thefigures toosmall,andthebridge doesnotfWlt atall.Thetombis alsoplaced of thecomdangerously closeto thecenter position, so muchso thatonesensesthat rejecting thepicGericault wasdeliberately on the turesque style.Gilpin, whosetheories promoted ideal picturesque andthesublime thought thatmocompositions overnature, placed tifstooirregular ortooprominently to therealm he passed fromthepicturesque called"romantic." He found,forexample, hillat thatArthur's Seat,thelarge,ungainly gavethatcitya thecenter of Edinburgh, aspect: romantic rather thana picturesque feature in it, can "Aviewwithsucha staring thana facewitha no morebe picturesque (quoted largebulbous nosecanbe beautiful" in Vaughan 1978,p. 38). theopinion Eitner hasexpressed tobe foundin thatif thereis anynarrative autobiographtheTimesofDay,it is probably ical.ThisseemsmosttrueofNoon. The weredelivered to canvases forthelandscapes to theartist's studio justashis auntwasabout a boynamed Georgesgivebirth totheir child, Hippolyte. Thusonecouldeasilyassociate withtheimageof Gericault's personal plight thedesperate manwhoseeksrescueand storm in Noon. shelter fromthebrewing

51

11.

AN WITH LANDSCAPE EVENING: AQUEDUCT

1818 in. x 86^/2 Oil on canvas,981/!Z (250.2 x 219.7cm) Museumof Art, The Metropolitan Purchase,Gift of JamesA. Moffett,2nd, in memoxyof GeorgeM. Moffett,by exchange, 1989, 1989.183

Figure 1la ois Basan PierreFrancs (French,1723-1 797) afterClaudeJosephVernet (French,1714-1 789) TheCascatelli in. 7rJ.6 x 8X/2 Etchingandengraving, (18.2x 21.7cm) Museumof Art, The Metropolitan HarrisBrisbaneDick Fund, 1953, 53.600.1547

Figure llb

n Pontedelle Tom at Spoleto

off sunstaves glowof thesetting Thewarm of night. clouds steel-blue theencroaching theivybeamsof lightsilhouette Slanting attheleft,pass ruinsofthebelvedere covered oftheaqueduct, arcade theelegant through before cliffatthecenter therocky andstrike theblasted withtheirlastrays, illuminating, the Bathers perhaps treeatthefarright. inMorning bark their wholaunched fishermen givesthemno Gericault (no.5),although

identityhere splashand play in the broad riverthat winds its way throughall three of the Times of Day. One bather,seated at the left, converseswith a shepherdin a Phrygian capwho listenspatiently.Gericaultdeveloped this pose while workingon his firstproject for the decorativelandscapesin 1816(see no. 1).Reasoning,or perhapsinquiring,the batherextendshis righthand in a gesture recallingthat of Oedipusin Ingres'sOedipus and the Sphinx(Paris,Musee du Louvre),a paintingsent fromRome to Parisfor exhibition at the Ecole des Beaux-Artsin 1808, Gericault the year the seventeen-year-old with CarleVernet. began his apprenticeship With its transienteffects of light, craggyrocks,and handsomeRoman architecture,Eveningcomes closerto Joseph than paysagesa eJ%et Vernet'sspectacular does Morning(no. 5) orNoon (no. lo). Here, Gericaultemulatingthe Vernetwhom we fWlnd Diderotadmiredin 1763,when he wrote:"It is Vernetwho knowshow to gather storms, open the cataractsof the sky and flood the earth;it is also he who knowshow, when it pleases him, to dissipatethe tempest,to returncalm to the sea, and serenityto the skies"(Salons,I, p. 228). And Gericault,as if to make certainthat his referenceto the eighteenth-centun masterdoes not pass un-

hg

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Figure llC ClaudeJosephVernet (French,1714-1789) Bathers in. Oil on panel, 28 x 27Xt (71x 69.2 cm) Stockholm,Nationalmuseum, Inv.893

noticed,included specificmotifsborrowed from some of Vernet'scelebratedcompositions. The aqueduct,for example, seems to be taken fromVernet's1751view of Tivoli (fig. 1la), which was engravedand thus readily accessible,althoughVernetrepeatedvariations of this aqueductin other compositions as well. GericaultvisitedTivoli duringhis stayin Italy(see no. 3), but he could only have known the aqueductfromVernet'spicexistedonlyin Vernet's ture,sincethe structure imagination.Althoughit looks convincing,it is a conflationof a specificbridge,the Ponte delle Torriat Spoleto thirteenth-centuty (fig. 1lb) nearlysixtymiles fromTivoliand a generic, double-tieredRoman aqueduct.While the lowerbuildings are based on those at Spoleto,the mountain crownedby a tower,the repoussoir at the left, and the subjectof evening bathingare all adapted
from VerIlet (flg. l lC).

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Figure lle AntonioCarracci (Italian,1583-1618) TheDeluge Oil on canvas,655/8 x 9714in. (166x 247 cm) Paris,Musee du Louvre Inv.230

Neither a plagiarist nora slavish copyist, Gericault quoted from Vernet in order to underscore thenovelty of hisownconception.Thevertiginous stack of compositional elements, theabnormally highhorizonsuggested butnotvisible thewiderangeof tone,andtheintensity of huereveal the antinaturalist andessentially Mannerist style of Gericault's landscapes in opposition to the dramatic butnature-bound visionofVernet orthetimidandsometimes anemic Neoclassicalcompositions ofValenciennes. Vernet tookliberties witharchitecture, topographicalsites,andmeteorological phenomena in order to givea moreconvincing impression of reality. Gericault hereabandoned reality in order to suggest the sublimity of nature, whichhe interpreted as anawesome, Michelangelesque force. Gericault appears tohaveindicated thebroad masses of thecomposition while applying theground to thecanvas. Thecliffs

wereprepared witha reddish-brown wash, stillvisible in the shadows, andthewater witha grayground. Onthewhole,thecanvas is thinly painted. Gericault strove formaximumeffectthrough economical means: only in thehighlights ofthefWlgures, thetreeat theright, andof thecliffsandbuildings in themiddle distance- didhe indulge in impasto, withbrilliant passages of spontaneous brushwork. Allof thevegetation waspainted impromptu, andmostoftheprofWlles were freely drawn. Inhis fWlnishing touches, Gericault reemphasized thecontours to achieve sharp, sculptural defWlnition. A drawingin Rouen(fWlg. 11d) mayrelate to the climbing bather attheright, a paraphrase of a fWlgure in Carracci's TheDeluge (fWlg. 1l e). Lorenz Eitner haskindly brought to myattention another drawing thatis alsoin Rouen, anunusual black-chalk study of seated male nudesattributed to Gericault andformerly in thecollection of the artist's friend Lehoux.

55

wlth to precisely fixingoftherelationshipofthlsdrawlngto Saint-Denis). mostcopiedcompositionsoftheRenaissance, a diers and (no. study 1814, an certainty. Gericault 11). surprised inspiration correspond Napoleon for The While based It poses a by it for was painting is the to Gtvteg the unlikely later here, removed those enemy. figures artists ^, :an that in however, from One j dated the Order on TOA -Fofrom of Id those a . painting, r_ w sketch!; the _ to by do Rubens Lucasvan after t;; l............................... tXFi ;an not most -\ ,-'Figure s tZ > g ! Michelangelo -/ Jst_N -k f_ -D -, 6,scholars j ,v 9 sJ/ , -1 Leyden d l2a &. - & JS and

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STUDIES OF BATHERS
About 1818? Brown inkandgraphite 011 ,a,esr 6lMl6 x gl/sin.(17.3 x 23.2cm) TheArtInstitute of Chicago, Giftof Tiffany andMargaret Blake, 1947.35 folio44

Atfirstsight,thesemuscular nudebathers wouldappear to be studies forthebathers in Evening, theMetropolitan's landscape of 1818 andas a further deterrent to theprecise thelandscape, thedrawing cannot be dated bookthatEitnerdatesto1813-14butthat Christopher Sellsdates to 1817-18. Thesketch of Napoleon on horseback attheupper leftis Officer of theChasseurs (Reims, Musee Gericault wouldconceive a Napoleonic compositlon after the defeatatWaterloo in 1815, thepainting in Reimsis in facta copyaftera work byHorace Vernet andthuscouldhave beenpainted later. Gericault worked in this spirited, calligraphic drawing stylebothbeforeandafter histripto Italy in 1816-17. Onecantherefore entertain a dateof 1817-18 forthe sheet,bringing it closer to the Metropolitan's landscape, butthepen workcannot be firmly datedonthebasisof stylealone. }

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About1818 in. (97 x 130 cm) x 51lA Oil on canvas,3814 Paris,Musee du Louvre,Departement des Peintures,RF 1950-40

Scenes of drowning,eitherprimordial,as in were the Deluge, or modern,as in shipwrecks, omnipresentin publicexhibitionsin Paris and Londonfrom l 77o to 1830.In Paris alone overthirtysuch pictureswere displayed duringthis periodof markedsocial upheaval, which the theme maywell reflect.Beforethis one paintingstoodas the definitive resurgence, statementon the subject:Poussin's Winter, orDeluge (fig. 13a),one of the Four Seasons paintedbetween 1660 and 1664 for Cardinal Richelieu.On view in the Louvrewhen it

in 1790,thepicgallery as a public opened since1750in the turehadbeenexhibited has Verdi AsRichard Palace. Luxembourg Poussin's itwasalsoconsidered demonstrated, TheDeluge prompted painting. mostfamous as diffromtemperaments praise hyperbolic theRationalist, asthoseof Diderot, ferent Constable, theRomantic, Chateaubriand, andP.N. landscapist, English thenaturalist whowas painter, theNeoclassical Guerin, French However, teachers. oneof Gericault's did counterparts, unliketheirEnglish artists, 57

notoftenquotefromPoussin's composition whenpainting theirown.Twoof themost significant works, Jean-Baptiste Regnault's painting of 1802(fig.13b) andits offspring, A. L. Girodet de Roussy-Trioson's A Flood Sceneof 1806(fig.13C), conjure uphorrific, moralizing scenesthatfocuson humandespair in a manner recalling J. F.Fuseli's nightmarish illustrations engraved in 1802 forMilton's Paradise Lost.Although Gericault drewa copyof Girodet's painting, he deliberatelyrenounced thetheatrics of Regnault andGirodet fora muchsubtler investigation of Poussin's composition. Aneffort to rescue lovedones women,children, the aged is an anecdote common to allof theseflood scenes, butGericault, likePoussin, attempted to makethelandscape, nottheanecdote, convey theemotion. "Gericault understood thesegrand, dramatic scenesof nature and expressed themwithrealpower," wrote Clement in the 1860S (1879, p. 73).Thishe accomplished bysubordinating the scaleof thefigures to thatof thedismal panorama of seaandsky. Bothelements areworked in a nearmonochrome ofgray-green, relieved onlybytherose-colored underlayer thatoccasionally showsthrough the sky.Nowhere didGericault useblue,theonecolorto be mostexpected. In a drawing in the so-called antiquemanner of 1815-16 aptly described byEitneras "Flaxman driven madby Michelangelo" Gericault copieda specific, andrather peculiar, motiffromPoussin's Deluge, a manclinging to theearof a swimminghorse(fig.13d). About the sametime, he drewa finished washdrawing (Paris, private collection) closely related to the Poussin, whichhe musthavestudied atthe Louvre, buthe mayalsohavereferred to an engraved reproduction thathe is known to haveowned because it wasincluded in the posthumous saleof his studio contents. The present picture is no morethanlooselybased 8

on Poussin's composition. Twodrawings Figure 13a NicolasPoussin specifically forthispainting areknown (French,1594-1665) onlythrough tracings byGericault's friend Winter or TheDeluge Alexandre Colin(Switzerland, private collec- Oil on canvas,46l/2 x 63 in. tion); a third drawing, byGericault, is at (118X l60cm) Rouen(inv.no. 17lr). Although various auParis,Musee du Louvre, Inv.7306 thors haveproposed datesforGericault's Deluge ranging from1810 to 1822, the style of thepainting technique suggests thatit was executed soonafter the 1816-17 tripto Italy. Thefigures in thisworkaresimilar to those in theMetropolitan's landscape (no.1l), whichcannowbe surely dated to 1818. In 1954, whenthelargelandscapes werethought Figure 13b(left) to dateto 1814, Eitner correctly recognized Jean-Baptiste Regnault therelationship of TheDeluge to theland(French,1754-1829)
TheDeluge,1802 Oil on canvas,35l/8 x 28 in.
(89.2X71 cm)

Paris,Musee du Louvre, Inv.7380 Figure 13C(opposite,above) Anne Louis Girodetde Roussy-Trioson (French,1767-1824) A Flood Scene,1806 Oil on canvas,174 x 13414 in.
(444-2 x 343-2 cm)

Paris,Musee du Louvre, Inv.4934 Figure 13d (opposite,below) StlldyforTheDeluge Graphite,wash, and ink on paper,
7l/sxlo5/l6in.(l8.lx26.2cm)

Privatecollection

a is notmerely "Theresemblance scapes: to orientation of theircommon matter tradition....Itis, above seventeenth-century onewhichexsimilarity, all,a closestylistic the types, fWlgure the to color, tendstothe volandsculptural contours drawn sharply Quite brushwork. umes,andevento thevery andarenot theybelongtogether, clearly, years" of several bya period separated (1954a,p- 134) that it is notsurprising Although it is chosetheDelugeas a subject, Gericault thathe didso at a time to consider intriguing affair Hisdoomed disturbance. ofpersonal of thetumult outduring withhis aunt,played Daysandtheturmoil Hundred Napoleon's must Restoration, Bourbon ofthesecond sense to theoverwhelming havecontributed ofthis thatis thetruesubject of disaster ofa man twodrawings made Gericault picture. about1815-16, woman a drowned holding he lefthisaunttotravel thatis, notlongbefore inv. de Rouen, desBeaux-Arts (Musee toItaly de Crisse, MuseeTurpin Angers, no. 147; of their thebirth inv.no.4854).Awaiting he mayhave to France, hisreturn childafter in thesuptakenupthethemeof drowning panelof theTimesof Day(p.27). posedfourth thechildwasbornandsentaway, After poemon drownthegreat created Gericault TheRaftof the hope, and despair, death, ing, was probably Medusa(seep. 9). TheDeluge thistime. about alsoexecuted ona canthiswork painted Gericault X-radiography used. already had he that vas TheDeluge is a thatunderneath hasrevealed ofthe 1812-14 madeabout copyGericault fromGros's on horseback of Napoleon fWlgure de (Musee of 1810 Battleof thePyramids in visible Therosecolorfaintly Versailles). theearlier of theskyis probably portions through. showing painting
- Z

59

@:?

14. (REDUCTION) MEDUSA OF THE THE l:RAFT

1820

Watercolor and graphiteon paper,

41/8 x 61/2 in.

(10.5 x 16.5cm) Geneva,GalerieJan Krugier

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If Gericaultdid paintNtght,the fourthpanel of the Times of Day, it would have been with TheRaftof the executedconcurrently Medusa(figs. 3, 14a),probablyin the same large studioin the faubourgdu Roule thathe had rentedin June 1818to accommodate canvasesof great size. Indeed, Clement recordedthat a pendantto Morning(no. 5) had been seen in Gericault'sstudiowhile he was painting TheRaft.It seems only logical that therewould be links between the two enormous projectsthat simultaneouslyengaged the artist,and not only scale but subject connectedthem. JosephVernethad, by the establishedshipwreck mid-eighteenthcentury, to depictNight in cyscenes as appropriate cles of the times of day,and Gericaulthad decided by earlysummer 1818that a shipwreckwould be the subjectof his entryto the 1819Paris Salon. The groundingof the navalfrigate Medusaoff the coast of Africain July 1816 was not an unusual event. However,the incompetenceand cowardiceof the aristocratic
60

captainand officers,and the inadequacyof the six lifeboats,which held only 250 of the 400 passengersand crew,were enough to raise seriousquestionsat the Ministryof the Navy.But the accountof the herdingof 149 men and one woman onto a makeshiftraft, the cuttingby selfish officersof the ropesthat bound the raftto the seaworthylifeboats,and the ensuing mutiny,suicide, and cannibalism on the raftbeforethe rescue ship, the Argus, was sighted thirteendays later,was the kind of sensationalstoiy that could bringdown a government. (fiveof Two of the fifteen survivors whom died of exposuresoon aftertheir rescue) were determinedto make the truth known.Henri Savigny,a surgeon,wrotea great embarreportthat, to the government's rassment,was leaked to the press. Savigny a geograwas joined by AlexandreCorreard, pher,in pressingthe governmentfor compensationfor the victims.In lieu of compensation they were harassed,and they took their case to the publicfor support.An expanded

Figure 14a TheRaftof theMedusa Oil on canvas,1933/8 x 284 in. (493.4 x 725 8 cm) Paris,Musee du Louvre, Inv.4884

descriptionof the disasterwas publishedin November1817,just afterGericault'sreturn to ParisfromItaly.The bookwas soon sold out, and demandwas suchthatit wentthrough severaleditions.Correard even set up a shop called Au Naufragede la Meduse in the arcadeof the Palais Royal,where he sold the book and printedotherpoliticalpamphlets. Gericaulttried depictingseveralepisodes of the disasterbeforesettling,in summer 1818,on the sightingof the rescue ship. Havingbegun with scenes crowdedwith figures, he simplifiedhis conceptionuntil he arrivedat the solution:a pyramidalcomposition of fifteensurvivors strainingtowardthe minusculeship on the horizon,theirpleading, outstretchedarmsinterlacedwith the limbs of cadavers.At the 1819Salon, the second and grandestof the Restoration, it was prominently placed in the Louvre's most prestigiousgalleny, the Salon Carre (and loweredfor bettervisibilityhalfway throughthe exhibition).It was well or poorly received,dependinglargelyon the political

orientationof the viewer.Most agreedthat the palettewas too monochromeand the paintingtoo dark.Some sensed its greatness. The artistwas awardeda gold medal. What the criticsdid not knowwas thatwith this extraordinary fusion of Rubensianfervorand Michelangelesqueterribilita, Gericaulteffectivelyoverturned David'spreceptsof Neoclassicism,which had monopolizedhistory paintingin Francefor nearlytwo generations. The tide had alreadyturnedwhen Stendhalwrotein his reviewof the 1824 Salon that "the school of David can only paintbodies, it is decidedlyinept at painting souls" (quotedin Holt 1966,p. 42). The undisputedpreeminenceof nan overhis environmentand of reasonoverirrationality were underminedby Gericault's masterpiece. The next generationof painters,led by Delacroix,would no longeracceptthose principles on faith. The same sensibilitythat created TheRaftalso createdthe cycle of large landscapes.For this reasonalone it seems plausible that the fourthpicture,Night,would have represented?disasterscene so as to resolve the ambiguityof Morning,Noon, and Evening,in which man is overshadowed by naturebut not yet overwhelmed. This watercolor, a reductionof the Salon painting,was executedby Gericaultin preparation for a lithographillustratingthe 1821edition of Savignyand Correard's text. The artist'sfriendsreportedthat he became dissatisfiedwith the compositionafterthe exhibitionin 1819,and in this reduction,he broughtthe raftcloserto the foreground, raisedthe horizonline significantly, and enlargedthe rescue ship perhapsthe final correctionof his most celebratedpainting.

61

15. ONA CHILD AND WOMAN DROWNED BEACH

About1822 x 2334in. Oil on canvas,1934 (S0 2 x 60.3 cm) Brussels,MuseesRoyauxdes Beaux-Arts de Belgique,Inv.3558

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Clementrecountedthatthis workwas "a sort of imitationof a paintingwhichHoraceVernet executedin Gericault'sstudiotin the rue des for a Russiancollector."No paintMartyrs, ing knownto be by Vernetresemblesthis picture,althoughGrunchec(lg7gb, pp. 53, 54) has suggested,and othersfollowinghim, in Lons-lethatan oil of the same composition to Gericault Saunier(fig. 1sa) once attributed may be the Vernetto which Clementreferred. However,the techniqueof that paintingis as alien to Vernet'sstyle as it is to Gericault's, and Clement,generallyexceedinglyreliable, may have been misinformedon this issue. scenes of shipwreck Twoillustrations by Vernet one for Taylor's1822 armchairthe Pittoresques, guide, Voyages traveler's otherfor an 1823 edition in French of Lord
62

poems (figs. 16a,16b) areoften cited Byron's as antecedentsof the presentpainting,but Gericaultdid not need the exampleof his good friendVernetto inventthis scene of a dead motherand child flung upon a rocky beach. Death, drowning,and parentsmourning the loss of their childrenwere recurrent themes in Gericault'soeurre fromhis return for to Paris in late 1817 until his departure to England in 1820. This periodcorresponds that in which the affairwith his aunt reached an inescapablecrisisand conclusion:the birthof their child, the revelationof their relations,and the forcedsepnear-incestuous arationof the loversfromeach otherand the sickwith the child. In Paris in 1822-23, maladythat would soon end his life, Gericaultagain took up the subjectof death

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Figure lsa to Gericault attributed Forrnerly TheTempest in. x 763/4 Oil on canvas,503/4 (129x 195 cm) Lons-le-Saunier, Musee des Beaux-Arts

by drowningin the present painting,in a smallerversionin Paris (fig.1sb), which may sketch,and in The Tempest be a preparatory (no. 16) On a sheet now in a privatecollecGericaultsketchedseveral tion (fig. 15C), for the limp figuresof mother alternatives and child unnecessaryif he were copying a paintingby Vernet.And in a reversalof Vernet'stypicalcompositionfor a vignette, Gericaultmade the figuresverysmall in comparisonto the setting.The paintingis all the more poignantfor the lack of attention given to the figures,treatedas if they were it is flotsamcast ashore.Characteristically, the landscape,with its jaggedrocks,and the

sea, with its remorselesssuccessionof waves, that carriesthe emotion. (1978,no. 220) has recently Grunchec suggestedthat the subjectof this paintingis based on a romantictale of a shipwrecked pious woman of Portugal,Dona Luisa de Mello, but Eitner (1983,p. 358, n. 98) rejects this notion becausethe circumstancesof the storydiffergreatlyfromthe scene Gericault depicts.Dona Luisa, who did not have a child, miraculouslysurvivedher shipwreck by tyingherselfto her aged motherwith a rope.However,it is true, as Grunchecpointed out, that a minorFrenchpainter,Coupinde la Couperie,exhibitedan illustrationof the

Figure 1sb The Tempest x 97/8 in. (19 x 2 5 cm) Oilon canvas,7 t/2 Paris,Musee du Louvre, RF 784

63

as

de Mello shipwreckat the Salon of 1824, and the descriptionin the cataloguesuggestsit may have been similarin appearanceto the presentpainting. A lithographiccopy of Gericault's paintingwas made by CharlesBouquet. Because Clement mentions the lithographin we can his entryon the painting(L'Epave), be certainthat the Brusselspictureis the workhe catalogued and not the versionsin Paris,Lons-le-Saunier,oryet anothercopy in Rouen. However,Grunchechas noted that Amedee Constantinlent to an 1826 exhibition in Paris a paintingcalled L'Epave,which was specifiedboth in the catalogueand in a reviewas a collaborationof Gericaultand his An 1831dictionaryof friendDedreux-Dorcy. artists also mentions a colmodernFrench laborativework.The presentcanvasis sometimes identifiedas the paintingformerlyin Constantin'scollection,but there is no proof of that;nor is there any visual evidence of it havingbeen paintedby two differenthands. The inscriptionon Bouquet'slithographgives only Gericaultas the author.Yetproblems remain.The conflictbetween Clement'sreference to a paintingby HoraceVernetand the 1826 exhibitionof a picturejointlyexecuted by Gericaultand Dedreux-Dorcyhas not been adequatelyexplained.

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64

16. THETEMPEST
About1822 and graphiteon whitewove Watercolor (23.2x 21cm);inscribed paper,g1/sx8l/4in. parM. Dedreux on verso:Gericault/donne 832 d0rcy/I The ArtInstituteof Chicago,Helen RegensteinCollection,1965.13

This workseems to depictan episodefollowing the shipwreckshown in the Brussels painting(no. 15).The dead motherand child, thrownupon the shore in the aftermathof the night'sstorm,are discoveredthe next morningby a monk, who lifts the wet sail and uncoversthem. Unlike the oil painting, apthis watercolorhas a strongillustrative peal. Somethinghas happened,and we, like

the monk, are made curiousto learnwhat it the newly was. Here, Gericaultapproaches which illustration, Romantic of style emerging immediate his in artists by was developed entourage,HoraceVernet,AryScheffer,and Leon Cogniet.Vernet'slithographsof shipwreckscenes (lgS. 16a, 16b),often discussed in relationto this workand the Brussels painting,are primeexamplesof the new style.

65

another

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Essential to thestylewereLordByron's poems, which,withtheirdramatic events andexoticsettings, captivated theseartists. Hisnarratives anddescriptive passages influencedthelookof early French lithographs asmuchasanyother individual factor. In 18 Vernet wasthefilrst French artist to illustrate a passage fromByron withhisprintConrad andGulnare, basedon a passage from"The Corsair." After Byron's poems werepublished inFrench in 1823,Gericault immediately madea lithograph anda watercolor of The Giaour, in whichthe Christian crusader rides through a rocky landscape similar to thatof TheTempest, aswellas a suiteof seven illustrations of episodes fromByron thatwere based on earlier English illustrations. He executed twoof thelithographs himselfand bya new,youngassociate, EugeneLami, from oilsketches thatGericault hadprepared. Historians havelookedin Byron's writings fora passage thatcouldhaveinspired The Tempest butnonehasbeenfound.

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Figure 16a HoraceVernet (French,1789-1863) Shiptreckedon theBeachof Pourville,1822 Lithograph, 6l/2 X 75/8 in. (16.5 x 18.7cm) The Metropolitan Museumof Art, The Elisha WhittelseyCollection, The ElishaWhittelseyFund,1959, 59 50.419

66

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An inscriptionon the verso of this sheet indicatesthat it once belonged to Gericault'sfriendDedreux-Dorcy. Grunchec (lg7gb, pp. <)3, <)4) has proposedthat it was Dedreux-Dorcy, and not Gericault,who made the watercolor, but Eitner,who endorsesthis workas autograph,IlndsGrunchec'sattribution difilcultto sustainin the absence of comparable workby Dedreux-Dorcy. It is true,however,that the executionlacks Gericault'scharacteristic vigor.A complicatingfactoris the descriptionby a contemporary criticof a paintingof the same subjectthat was reputedlythe jointproduction of Dedreux-Dorcyand Gericault(see no. 15).Gericault'sstudent A. A. Montfort sketcheda similarscene on a sheet now in the Ecole des Beaux-Arts,Paris (Ilg. 16C). Whetheror not thiswatercolor is by Gericault, it testifiesto the strongappealof this kind of imageryto the groupof young artistsin his immediatecircle.

Figure 16b HoraceVernet (French,1789-1863) TheShipwreckofDonJuan,1823 Lithograph, 8 x 63/8 in. (20.3 x 16.2cm) Privatecollection
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67

NOTES

Studies for Decorative Panels, 1816?

PROVENANCE: Possiblyincludedunder nos. 7o, 72, or 86 in the artist'sposthumous inventory; probably includedin the posthumous sale of Gericault's studio,H6tel Bullion,Paris, November2, 3, 1824,no. 42, as "Trente-trois calepinsremplisd'etudes;figures,animaux,vues de paysages et compositions," forF 755;AryScheffer, Argenteuil,until 1858;his studiosale, Hotel des Commissaires, Paris,March15, 1859,no. 16,as "Un volumeextremementcurieuxet rare,renfermant soixante-neuffeuilletscouvertsde croquisa la mine de plomb,a la plumeet a la sepia,dontquelques-uns sont termines,"for F logo; possiblyA. A. Hulot, Paris,until 1894;sale, Paris,H6tel des Commissaires,Januaryl l -1 3, 1894,p. 69, as "TresPrecieux Album,contenantsoixante-quatre croquispar Gericault,la plupartdessinees au rectoet au verso. Etudespourses tableauxet lithographies," for F 2,900 (the followingannotationappearsin an annotatedcopyof the catalogueat the Bibliotheque Nationale,Paris:"Albumdonne parGericault lui-meme a feu Richesseet mis pourla premiere fois aux encheresa la mortde ce collectionneur, 1857");BaronJosephVitta,Paris;Cesarde Hauke, Paris;Tiffanyand Margaret Blake, Chicago,until 1947;theirgift to The ArtInstituteof Chicago n 1947 EXHIBITIONS: None. REFERENCES: Eitner lgs4a, p. 135,nn- 1?, 18, fig. 7 (verso); Eitner 1960,pp. 34-35, underfolio 43; Grunchec1976,p. 406, no. 53, p. 419, n. 115;Gruncheclg7gb, pp. 43-44, 57, nn. 88, 89; Matteson1980,p. 78. n. 20; SzczepinskaTramer1982,p. 140;Bazin 1989,pp. 34, 149, nos. 725 (recto)and 726 (verso),repr.;Sells 1989, pp. 341-572.

pp.208-g, no. 885 (recto),repr.as "Recherches pourScenes Militaires"; Sells 1989, pp.341-57.

3.

View of Tivoli, 1816-17

PROVENANCE: CharlesGasc,Paris,about

1850; JosephRignault,Paris;AlfredStrohlin, Lausanne;Hans E. Buhler,Winterthur, by 1956 until 1967; Buhlerestate, 1967-85; sale, Christie's, London,November15,1985, no. 52, as "Vuede Tivoli,"for 145,800. EXHIBITIONS: 1953 Winterthur, p. 44, no. 157, plateXI, lent by privatecollection, Switzerland; 1959 Paris,no. 164, lent by Hans E. Buhler;1989 San Francisco,p. 52, no. 20, repr.in color;lggo-gl New Yorkand Geneva,p. 94, no. 58, repr.(not exhibitedin New York). REFERENCES: Hugelshofer1947, p. lo, no. 14, repr.in color;Eitner lgs4b, p. 258; Dubaut 1956, p. g, no. 53, repr.;Eitner 1983, p.114, fig. gg, p.336, n. 54; Brugerolles1984, p.245, under no 346-

4.

View ofMontmartre, 1816-20?

PROVENANCE: L. J. A. Coutan,Paris,until

1830; his wife, Mme L. J. A. Coutan,nee Hauguet, Paris,until 1838; her brother,FerdinandHauguet until 1860; his son, AlbertHauguet,Antibes,until 1882; his wife, Mme AlbertHauguet,nee Schubert, Antibes,until 1883?; her father,M. Jean Schubert,

Studies for a Composition with a BoatingPartyandfor Various MilitarySubjects,1816or 1817-18

PROVENANCE: See no. 1. EXHIBITIONS: None. REFERENCES: Eitner lgs4a, p. 135,nn. 17, 18;Eitner 1960,pp. 37-38, underfolio 48, repr.; Wells 1964,no. 4, pp.l4, 15,repr.(recto); Wiercinska 1967,p. 89, n. 3o (recto);Grunchec1976,p. 406, no. 53, p. 419, n. 115;Gruncheclg7gb, pp. 43-44, 57, nn. 88, 89; Matteson1980,p. 78, n. 20; Szczepinska-Tramer 1982,p. 140;Bazin 1989, pp. 34, 61, 149-50, no. 727 (verso),repr.as "Recherches pourune scenegalantedu xvIIe siecle,"

and her sister,Mme Milliet,Antibes;sale, CoutanHauguetcollection,Hotel Drouot,Paris,December 16-17,1889, no. 180, as "Etuded'apresnature: Montmartre"; Ackermann, Paris,by 1912; Hans E. Buhler,Winterthur, by 1956 until 1967; Buhler estate,1967-85; sale, Christie's, London,November 5,1985, no. 49, for 91,800. EXHIBITIONS: 1907 Berlin(perDubaut 1956); lsog Munich (perDubaut 1956); 1911 Rouen (perDubaut 1956); 1912 St. Petersburg, no. 274, repr.;1935 Basel (perDubaut 1956); 1953 Winterthur, p. 43, no. 148; lggo-9l New Yorkand Geneva,p. 93, no. 57, repr.in color. REFERENCES: Meier-Graefe19l9, pl. 2; Dubaut 1956, no. 52, repr.;Eitner 1983, p.44,
fig.28.

5.

Moming: Landscape with Fzshermen,

1818

PROVENANCE: Possiblyone of the four landscapescataloguedin the posthumoussale of Gericault's studio,Hotel Bullion,Paris,November

68

2, 3, 1824,no. 18,as "QuatreEsquissesde Paysages,"for F92; possiblywith BaronDesazard, Paris,by 1848until at least 1850;AnyScheffer, Argenteuil,until 1858;his studiosale, H6tel des Commissaires, Paris,March15, 1859,no. 28, as "Paysage,au premierplan des pecheursmettenta l'eau une barque,"to Dornanfor E 1,150;Dornan, Paris,from 1859until at least 1867;possiblywith Comtede Saint-Leon,Chateaude Jeurre,Etrechy, until 1937;possiblyto Nat Leeb, Paris,1937-49; possiblyto AlexandreUjlaky,Paris,1949;private collection,Burgundy, until 1959;sale, Galerie Charpentier, Paris,December3, 1959,no. 52, as "Paysaged'Italieau petitjour,"forF 3,800,ooo; JuliusWeitzner,London;to HuntingtonHartford, New York, by 1960until 1968;to Wildenstein& Co., New York,1968-78; to the Neue Pinakothek, Munich,in 1978. EXHIBITION: 1975New York, no. 29. REFERENCES: Burty18sga, p. 47; Burty 8sgb, p. 95; Clement 1867a,p. 235; Clement 1867b,p. 275, no. 13, as "GrandPaysageen Hauteur,"1810-12;Clement 1879,pp. 72, 280, no. 16;Monganand Sachs 1940,vol. 1,p. 371, underno. 692; Eitner lgs4a, p. 131,n. 4, p. 132, n. 6; Huggler1954,p. 234;Eitner1959,pp. ll9-20; Lebel 1960,pp. 328-35, 340-41, nn. 12-13, figs. 6, lo (detail);Eitner1963,pp. 22-23, 32-33, nn. 5, 12, 13;del Guercio1963,p. 33;Anonymous 1964,no. 6, repr.;Mongan 1965,no. 41;Jullian 1966,pp. 897, goo-gol, 902, n. 4, vol. 2, fig. 605; Berger1968,p. 37, repr.,p. 167,no. 20; Eitner 1971,pp. 18, 67, underno. 30, p. 68, underno. 31, p. 71, underno. 32; Szczepinska-Tramer 1974, pp. 299-317; Julia1975,pp.448-49, underno. 75; Geiger,Guillaume,and Lemoine 1976,pp. 26-27, underno. 37; Lemoine 1976,vol. 1,pp. 139-40, underno. 117;Grunchec1978,pp. 106-7, no. 128, fig. 128;Zerner1978,p. 480; Gruncheclg7ga, pp. 218-21, underno. 19,fig. b; Steingraber 1979, pp. 245-48, fig. 6; D. Rosenthal1980,p. 638, n. 6; Toussaint1980,pp. 1o6-7, underno. 49, repr.; Eitner1983,pp. 142-45, 340, nn 24-27 34 pl 25 in color;Brugerolles1984,p. 245, underno. 346; Harrison1985,underno. 3; Harrison1986, pp.37-39, underno. 19,fig. 23;Eitner1987,pp. 293, 294; Granville1987,p. 280; Hashi 1987,pp. 78-80, underno. P-11, fig. 1;Eitnerand Nash 1989,p. 54, underno. 26; Schaefer1989,pp. 28-29, fig. 2.

Mass.,p. 16; 1951 Detroit,no. 43, repr.;1953 New York, p. 21, no. 35; 1965-67 Cambridge, Mass.,and New York, no. 41, repr.;1971-72 Los Angeles, Detroit,and Philadelphia,p. 67, no. 3o, repr.,as ca. 1815-16; 1989 San Francisco,p. 54, no. 26, as "Landscape with Fishermen,"1818. REFERENCES: Monganand Sachs 1940, vol. 1, pp. 370-71, no. 692; vol. 3, fig. 363; Holme 1943, p. 12, pl. 98; Berger1946, p. 22, no. 1, repr.; Eitnerlgs4a, p. 135, n. 20, fig. 9; Huggler 1954, pp. 234, 237; Huyghe and Jaccottet1956, p. 166, no. 20, pl. 20; Lebel 1960, p. 329, fig. 7; Eitner 1974, p. 461, no. 5 (Eitneridentifiesthis sheet as that describedby Clement[1879, p. 328, no. 5], even thoughClementspecifically describesa sheet with two landscapes,not one. Clementmay have had in mind the sheet with two landscapes,now in Bayonne[inv.no. 802]; or,if not, he refersto a lost drawing); Szczepinska-Tramer 1974, p. 299, n. 4; Geiger,Guillaume,and Lemoine 1976, pp. 26-27, underno. 37; Lemoine 1976, p. 139, underno. 117; Zerner1978, p. 480, fig. 1; Steingraber 1979, pp. 246-47; Eitner1983, p. 143, fig. 125; p. 34o, n. 28.

7.

Studies ofFishermen, 1818

PROVENANCE: Earliestwhereabouts unknown;possiblyin the collectionof Pierre-Jean David (the sculptorknownas Davidd'Angers, 1788-1856), Paris;Paul ProuteS.A., Paris, 1978; Hazlitt,Gooden& Fox, London,by 1979; to the presentowner. EXHIBITION: 1979 London,p. 4, no. 5, pl. 3. REFERENCES: Mongan1965, underno.41; Shone 1979, p. 394; Eitner 1983, p. 34o, n. 28.

8.

StudiesofFishermen, 1818

PROVENANCE: See no. 7. EXHIBITION: 1979 London,p. 3, no. 4, pl. 2. REFERENCES: Mongan1965, underno. 41; Shone 1979, p. 394, fig. 73; Eitner 1983, p. 340, n. 28.

9.

Studies forMorning: Landscape withFishermen andEvening: LandscapewithanAqueduct, 1818

6.

Studyfor Moming: Landscape with Fishermen, 1818

PROVENANCE: Earlywhereabouts unknown; AlfredSensier,Paris,until 1877;his sale, Hotel Drouot,Paris,Decemberlo-ls, 1877, no. 426, as "Paysageavecrochers," forF 155; Mathey,Paris;Duc de Trevise,Paris,by 1935until 1938;his sale, GalerieJean Charpentier, Paris, May 19, 1938,no. 18, as "Pecheurstirantune barque,"forF 15,500;MauriceGobin,Paris, 1938; Paul J. Sachs,Cambridge, Mass., 1938-65; on loan to the Fogg ArtMuseum, 1938-65; bequeathedto the Fogg ArtMuseumin 1965. EXHIBITIONS: 1935Paris,no. 28, as "Paysageitalien,"1816-17,Rome, lent by Duc de Trevise;1937Paris,no. 92, as "Pecheurstirant une barque,"1808-12; 1939Brooklyn; 1943 Cambridge, Mass.,p. 7, no. lo, as "AnItalian Landscape"; 1945Boston,p. 7; 1946Cambridge,

PROVENANCE: Earlywhereabouts unknown;AlfredSensier,until 1877; his sale, HotelDrouot,Paris,Decemberlo-ls, 1877, no. 432, as Etudesde paysage(nos. 431 and 432 for F 16); Destailleurs,Paris;Jean Dollfus, Paris,until 19ll; his sale, Hotel Drouot,Paris,March4, 1912, no. 50, as "Paysages," to SortaisforF 105; Georges Sortais,Paris, 1912 until at least 1924; Duc de Trevise,Paris;PierreDubaut,Paris,by 1937 until at least 1954; M. andMme PierreGranville, Dijon, 1956; given to the Musee des Beaux-Arts de Dijon, in 1969. EXHIBITIONS: 1924 Parisand Rouen, p. 66, no. 178, as "Paysages,"1819-21, Sortais collection;1935 Paris,no. 29. as "Troispaysages," 1816-17, privatecollection;1937 Paris,no. 93, as "Paysages,"l808-l 2, lent by P.Dubaut;1953 Winterthur, p. 41, no. 135, lent by Dubaut;1954 Paris,no. 36; 1976 Paris,pp. 26-27, no. 37, repr. REFERENCES: Eitner lgs4a, p. 135,n 21; Huggler1954,pp. 234-35, fig-4, p- 237 n 5; Lebel 1960,p. 329, fig. 8; Mongan 1965,under no. 41;Eitner1971,p. 67, underno. 30; Eitner1974,

69

p. 461, no. 5 (Eitner identifies thissheetasthat described byClement [1879, p. 328, no.5] even

Evening: Landscape withan Aqueduct, 1818

PROVENANCE: Possibly oneof four landscapes catalogued in theposthumous saleof Gericault's studio, HotelBullion, Paris, November 2, 3, 1824, no. 18,as "Quatre Esquisses de Paysages," forF92;subsequent whereabouts unknown; possibly attheChateau deMontmorency, Montmorency, after 1886, untilbefore 1903; possibly withRenePetit-Leroy, Paris, until1903; sale, H6telDrouot, Paris, May30, 1903, no.23,as 0. Noon: Landscape witha Roman "Paysage avecrochers et constructions," together withno. 22to Laville forF 1,205; possibly with Tomb, 1818 Comte de Saint-Leon, Chateau de Jeurre, Etrechy, PROVENANCE: Possibly oneofthefour until 1937; possibly to Nat Leeb, Paris, 1937-49; landscapes catalogued in theposthumous saleof possibly toAlexandre Ujlaky, Paris, 1949; Paul Gericault's studio, HotelBullion, Paris, November Brame andCesar deHauke, Paris, 1952-54; to 2, 3, 1824, no. 18, as "Quatre Esquisses de Walter P. Chnysler, Jr., New York, 1954-88; Paysages," forF 92; subsequent whereabouts onloantoTheChnysler Museum, Norfolk, Virginia, unknown; possibly attheChateau deMontmorency, from1971-88; hissale,Sotheby's, NewYork, Montmorency, after 1886, until before 1903; possibly June1,1989, no. l l o;toTheMetropolitan Museum withRenePetit-Leroy, Paris, until1903; sale, ofArt. H6telDrouot, Paris, May3o, 1903, no. 22, as EXHIBITIONS: 1953Winterthur, p. 31, "Village aubordd'uneriviere," together withno. no. 70,as "Paysage d'Italie aucoucher dusoleil," 23 to Laville forF 1,205; possibly withComte de 1812-15, lentbyPaulBrame andCesar deHauke; Saint-Leon, Chateau deJeurre, Etrechy, until 1956-57Portland, Oregon, et al.,p. 45, no. 73, 1937; possiblyto NatLeeb, Paris, 1937-49; possibly fig.73,as "Landscape withanAqueduct. .. to Alexandre Ujlaky, Paris, 1949; PaulBrame and Evening," lentbyWalter P.Chnysler, Jr.;1958 Cesar de Hauke, Paris,1952-54; toWalter P. NewYork, p. 6, no.64;1960Dayton, Ohio, p. 135, Chnysler, Jr.,NewYork, 1954-70; sale,Christie's, no. 15,repr.; 1965-66NewYork, no. 14;1971-72 London, June3o, 1970, no. 20, as "Paysage LosAngeles, Detroit, andPhiladelphia, p. 15,n. 1, classique; matin"; purchased bytheMuseedu pp.18,67-69, 71,178,no. 31,repr., as 1815-16; PetitPalais, for26,ooo gns. 1986-87Raleigh, North Carolina, andBirmingham, EXHIBITIONS: 1953 Winterthur, p. 31, Alabama, p. 37, no. 19, repr. no. 71, as "Paysage d'Italie partemps orageux," REFERENCES: Clement 1867a, p. 235; 812-15, lentbyPaulBrame andCesar deHauke; Clement 1867b, p. 275,under no. 13, as 1810-12; 1956-57 Portland, Oregon, et al.,p.45, no. 72, fig. Clement 1879, pp.72, 280,under no. 16;Eitner 72; 1958 NewYork, p. 6, no.63; 1960 Dayton, gs4a,pp.131-42,fig.2, as 1814-16; Huggler Ohio,p. 135, no. 14, repr.; 1971-72 LosAngeles, 1954, pp 234,237,figs.2, 3 (detail); AimeDetroit, andPhiladelphia, p. 15, n. 1,pp.18, 67-68, Azam1956, p. 126,as spring 1816; Eitner 1959, 7o-71, 178, no. 32, repr., as 1815-16; 1974-75 pp.ll9-21; Lebel1960, pp.328-35, 340,nn.8, Paris, Detroit, andNewYork, pp.448-49, no. 75, 9, p. 341,nn.16,22, 24,fig.2, as 1812-16; repr.; 1979-80 Rome, pp.218-21, no. 19,repr. in Eitner 1963, pp.22-23, 32-33, nn.5, 12,13; color; 1980-81 Sydney andMelbourne, pp.106-7, delGuercio 1963, pp.33-34, 142,fig.27,as 1815; no.49, repr.; 1987-88 Kamakura, Kyoto, and Jullian 1966, pp.897,goo-gol, 902,n. 4; Berger Fukuoka, pp.78-80, no.P-ll, repr. 1968, p. 167, under no.20;Aime-Azam 1970, REFERENCES: Clement 1867a, p. 235; pp.152,375;Eitner 1974, p. 448,underno. 16; Clement 1867b, p. 275, underno. 13, as 1810-12; Szczepinska-Tramer 1974, pp.299-300,303,306-7, Clement 1879, pp. 72, 280, under no. 16; Eitner 310-1l,313,asafter1817; Julia1975, pp.448-49, gs4a, pp. 131-42, fig. 1, as 1814-16; Huggler under no. 75;Geiger, Guillaume, andLemoine 1954, pp. 234, 237, fig. 1;Aime-Azam 1956, 1976, pp.26-27,under no.37;Lemoine 1976, p. 126, as spring 1816; Eitner 1959, pp. ll9-21; p. 139,under no. 117; Grunchec 1978, pp.106-7, Lebel1960, pp. 328-35, 34o, nn.8, 9, p. 341, no. 129,fig.129,pl.XXVI in color; Grunchec lg7ga, nn. 16, 22, 24, fig. 1, as 1810-12?; Eitner 1963, pp.218-21,fig.A,asafter1817; Steingraber 1979, pp. 22-23, 32-33, nn.5, 12, 13; delGuercio pp.246-47;D. Rosenthal 1980, p. 638,n. 6; 1963, pp. 33-34, 142, fig. 26; Jullian 1966, vol. 1, Toussaint 1980, pp.106-7,under no.49. repr.; pp. 897, goo-gol, go2, n. 4; Aime-Azam 1970, Eitner 1983, pp.142-45,340,nn.24-27, 34, pp. 152, 375; Eitner 1974, p. 448, under no. 16; fig.120,as 1818; Brugerolles 1984, p. 245,under Szczepinska-Tramer 1974, pp. 2gg-3oo, 3o3, no. 346;Harrison 1985, no. 3, repr.; Eitner 1987, 306-8, 310-13, as after 1817; Geiger, Guillaume, pp.293-94;Granville 1987, p. 280;Hashi1987, andLemoine 1976, pp. 26-27, under no. 37; p. 80,repr.; Schaefer 1989, pp.28-29, repr. in Lemoine 1976, pp. 139-40, underno. 116;Grunchec color. 1978, pp. 106-7, no. 130, fig. 130, pl. XXVII in color; Zerner 1978, p. 480; Steingraber 1979, pp. 246-47; D. Rosenthal 1980, p. 638, n. 6; 12. Studies ofBathers, about 1818? Eitner 1983, pp. 142-45, 340, nn 24-27 31 34, pl. 26 in color,as 1818;Mosby1983,p. 84; Brugerolles1984,p. 245, underno. 346; Granville 1987,p. 280; Eitnerand Nash 1989,p. 54, under no. 26; Schaefer1989,pp. 28-29.
7o
PROVENANCE: EXHIBITIONS: REFERENCES: See None. 17, no.l. Eitner lgs4a, p. 135, nn. 1960, p.35,under folio 44,repr.;

though Clement specifically describes a sheetwith twolandscapes andnotone.Clement mayhave hadin mindthesheetwithtwolandscapes, nowin Bayonne [inv. no.802]; or,if not,he refers to a lost drawing); Szczepinska-Tramer 1974, p. 299, n. 4; Lemoine 1976, pp. 139-40, no. 117,repr.; Steingraber 1979, pp. 246-47; Eitner 1983, pp- 142-43, fig- 124, p. 340, n. 28.

18: Eitner

n. 115; p.406,no. 53,p.419, Grunchec1976, nn. 88,89; Gruncheclg7gb, pp. 43-44,57, p.78,n. 20;Szczepinska-Tramer Matteson1980, n. 15; Sells Eitner 1983, pp. 46,328, 1982, p.140; 45,171, Bazin 1989, pp. 1989, pp.341-57; no. 788, repr.

5.

ona Woman andChild Drowned about1822 Beach,

l 3.

about1817-18 TheDeluge,

PossiblyJuliende la PROVENANCE: possiblyhis sale, Paris, Rochenoire,Paris,in 1858; no. 64,as "Scenedu deluge, lere March22,1858, pensee du tableau,"to GarreauforF 27(however, collection in a private this is morelikelythe drawing Paris,by A. de Girardin, [Bazin1989, no. 983]); 1867; sale, H6tel Drouot,Paris,March22,1869, no. 26,as "Scenedu Deluge," to ErnestGarielfor F lo,ooo; ErnestGariel,Paris;to his daughter, until at least 1937; Mme StephanePiot, by 1924 to her son, AndrePiot, until his sale to the Musee du Louvre,Paris, 1950. 1924 Parisand Rouen, EXHIBITIONS: as "Scenedu Deluge," 1818-lg, p.58,no. 137, Paris,no. 56,as lent by Mme StephanePiot; 1937 7-lg, lent by Mme "Scenedu Deluge," 181 Paris, Paris,no. 32;1967 StephanePiot; 1966 Moscowand Leningrad,no. 56, no. 358; 1968-69 Los Angeles,Detroit,and repr.;1971-72 Paris;1976 Philadelphia,p. 66,no. 29,repr.;1975 Mareq213, no. 164, repr.;1984 Hamburg,pp. 208, en-Baroeuland Dieppe,no. 20,repr. Clement 1867b,p. 290, REFERENCES: no. 127, as "Scenedu Deluge,"Mme la Vicomtesse pp.72-73,30g-lo, de Girardin; Clement1879, Mme la no. 133, as "Scenedu Deluge," 1818-20, collection;Courthion1947, Vicomtessede Girardin or 1842), p.34,n. 1 (repr.fromBatissier1824 pp 135-37, 139, n- 14, p.161; Eitnerlg54a, p. 134, pp.1l,35;Lebel 1960, 140, fig.6;Eitner1960, 3,4 (detail);Eitner1963, pp.333,335,figs. vol.1,p.897, Jullian1966, pp.22-23,as 1815-16; figs. 1,3 pp.139-46, as pre-Italy; Granville1968, p.455,no. 133; Eitner1974, (x-ray),as post-Italy; 313; 1974, pp.3oo,311, Szczepinska-Tramer repr.,as pp.105-6, no. 123, Grunchec1978, 4;Eitner p.397, n. 75,fig. 1817-20; Verdi1981, n. 137, pl.17in color,as 1983, pp.96-97,344, p.47,underno. 9, 1812-15; Grunchec1985, repr. pp.78,229, no. 934, fig. ga; Bazin1989,

Probablynot the work PROVENANCE: includedas no. 25of the artist'sposthumous not the work inventony, as "vuede mer";probably includedin the artist'sposthumoussale, Hotel de no. 19,as Bullion,Paris,November2,3, 1824, une vue des bords "Etudede paysagerepresentant possibly de la mer parun tempsorageux,"for F86; his sale, ArnedeeConstantin,Paris,until 1830; 52rue Saint-Lazare,Paris,February15,1830, no. lgo, as "Une femme, avec son enfantest jetee, a la suite d'unetempete,parune fortevague surle sale, Hotel Drouot, rivageet contreun rocher"; no. 3o,as "La Tempete"; Paris,March1l, 1892, possiblyDelestre,Paris;Eugene Clarembaux, Brussels,until lgol; to the Musees Royauxdes Beaux-Arts de Belgique,Brussels,from lgol. 1826 Parisas by DedreuxEXHIBITIONS: Dorcyand Gericault,lent by Constantin(per p.358, p.122; and Eitner1983, Grunchec1978, as n. 91);1924 Parisand Rouen,p. 66,no. 176, Paris,p. 107, "L'Epave ou la Tempete";1936 as "TheWreck, no. 735; 1952 London,p. 23,no. 21, (notexhibitedaccording or The Storm,"1812-16 1953 Winterthur, p. 38,no. 112; to Eitner1974); no. 2;1963 Rouen,no. 2; 1962-63 Charleroi, 1971-72 Los Angeles,Detroit,and Philadelphia, Rome,pp. 249-52, p.162, no. 117, repr.;1979-80 Kamakura, Kyoto,and no. 35,repr.;1987-88 no. P-32, repr. Fukuoka,pp. 118-20, Clement1867b,p. 281, REFERENCES: Clement 1879, no. 63,as "Scenede Naufrage"; no. 67, as p.72,as "Scenede Naufrage,"p. 293, Fierens-Gevaert and Laes 1922, "LaTempete"; p.54;Regamey p.172, no. 286; L. Rosenthal1924, Courthion pp.158-59; 1926, p.49;Oprescu1927, Eitner n. 12; 1947, p.160; Eitnerlgs4a, p. 134, Eitner Eitner1959, p.120; 1955, p.288, n. 28; p.667, 1967, pp.7-17, fig.3;Joannides1973, p.451, no. 67;Szczepinskan. 1l; Eitner1974, pp.399, Grunchec1976, Tramer1974, pp.316-17; p.88,as "Wreckage"; 411, nn. 2,3;Berger1978, fig.221, pl.LIV pp.121-23, no. 221, Grunchec1978, in color;Gruncheclg7gb, pp. 52-54,fig.so,p.58, 357, nn. 85, pp.256-59, nn- 153-57; Eitner1983, 88,go,p.358, nn. 91, 92,93,98,fig.210.

6.

about1822 TheTempest,

14.

(reduction), TheRaftoftheMedusa
1820

PossiblyGericaults gift to PROVENANCE: Leclerefils, Paris,by 1820; AlexandreCorreard, M. Rouher,Paris;to his daughter, Paris,by 1867; MarquiseSamuelVellesde la Valette,Paris;to her familyby descent;sale, SothebyParkeBernet& for 21,000. no. 108, Co., London,March3o,1977, 1989 San Francisco,p. 60, EXHIBITIONS: no. 41,repr.in color;lggo-gl New Yorkand Geneva,pp. 92-93,no. 52,repr. p.368, Clement 1867C, REFERENCES: du tableau,"Leclere no. l26-b, as "Reproduction no. 13g-b, Clement1879, pp.357-58, filscollection; du tableau," Leclerefilscollection; as "Reproduction Eitner1972,p. 152,no. 28; Barran1977,p. 311, fig. 124.

PossiblyP.J. DedreuxPROVENANCE: Vicomtede Fossez, Paris; Dorcy,Paris,by 1832; and Co. Inc., Ambroselli,Paris;S. Kleinberger NathanChaikin;to The Art New York, by 1964; Instituteof Chicago. 1971-72 Los Angeles, EXHIBITIONS: repr.; no. 116, Detroit,and Philadelphia,p. 161, repr. 1976 Paris,no. 37, pp.7-17, Eitner1967, REFERENCES: pp.132-33, no. 65,repr.; fig. 1;Joachim1974, 1974, p.313, n. 5,p.315, Szczepinska-Tramer fig.221(3) p.122, no. 221(3), fig. g; Grunchec1978, Gruncheclg7gb, (attributed to Dedreux-Dorcy); to 163, fig.54(attributed pp.52-54,58,nn. 162, n. 94. Eitner 1983, p.257, Dedreux-Dorcy);

71

BIBLIOGRAPHY

Aime-Azam, Denise.Mazeppa:Gericaultet son temps.Paris: Librairie Plon,1956. . Gericault: L'Enigmedu peintrede la "Meduse. " Paris: Librairie Artheme Fayard, 1970. Anonymous. Paintings from theHuntington Hartford Collection in the Galleryof Modern Art.NewYork: The Foundation of Modern Art,Inc.,1964. Barran, Julian."Saleroom Discoveries: Theodore Gericault, Illustrations to Alexandre Correard's 'Le Naufrage de la Meduse."' BurlingtonMagazine 1l9 (April 1977), p. 311. Bazin,Germain. L'Homme: Biographie,temoignages et documents. Vol.1 of TheodoreGericault: Etude critique,documents et catalogueraisonne.Paris: Fondation Wildenstein, lg87a. . L'Oeurre: Periodedeformation.Etude critiqueet catalogueraisonne.Vol.2 of Theodore Gericault: Etude critique,documents et catalogueraisonne.Paris: Fondation Wildenstein, lg87b. . La Gloirede l'Empireet La Premiere Restauration: Etude critiqueet catalogueraisonne.Vol.3 of Theodore Gericault: Etudecritique, documents et catalogueraisonne. Paris: Fondation Wildenstein, 1989. Benoit, Francois. "LePaysage autemps de la Revolution et de l'Empire." InHistoiredu paysageen France, editedby HenryMarcel, pp. 194-210.Paris: Librairie Renouard, 1908. Berger, Klaus. Gericault: Drawingsand Watercolors. NewYork: H. Bittner andCompany, 1946. . Gericaultet son oeurre.Paris: Flammarion, 1968. . Gericault and His Work. Reprint of the 1955translation byWinslow Amesof the 1952German ed. NewYork: Hacker ArtBooks,1978. Boulton, J. T., ed. and comp.A PhilosophicalEnquiryinto the Or7ginof Our Ideas of the Sublime and Beautiful,by Edmund Burke. NewYork: Columbia University Press,1958. Brugerolles, Emmanuelle. LesDessinsde la collectionArmandValton: La Donationd 'ungrandcollectionneur du xIxesiecle a l'Ecoledes Beaux-Arts. Paris: EcoleNationale Superieure des Beaux-Arts, 1984. Buhler sale.Theodore Gericault: TheHans E. BuhlerCollection of Pictures, Drawingsand Lithographs. Sale catalogue. London: Christie, Manson & Woods, November 15, 1985. Burke, Edmund. A Philosophical Enquizyinto the Orzgin of OurIdeas of the Sublimeand Beautiful.3d ed. London: R. andJ. Dodsley, 1761. Burty, Philippe. "Mouvement desartset de la curiosite." Gazettedes Beaux-Arts, April18sga,pp.47-48. . "Chronique: Documents faitdivers." Revueuniverselle des arts, April-September 18sgb,p. 95. deChateaubriand, F.A.R.Lettres surl 'artde dessindanslepaysage;lettres d 'Italie(1795). Oeuvres completes. Paris,1861. Clark, Kenneth. Landscapeinto Art. Newed. NewYork: Harper & Row,1976. Clement, Charles. "Gericault." Gazettedes Beaux-Arts 22 (March 1867a), pp. 209-50. . "Catalogue de l'oeuvre de Gericault: Peinture (lerearticle)." Gazettedes Beaux-Arts 23 (September 1867b), pp. 272-93. . "Catalogue de l'oeuvre de Gericault (deuxieme et dernier article)." Gazette des Beaux-Arts (October 1867c), pp. 351-72. . Gericault: Etude biographique et critiqueavec le catalogueraisonnede l'oeurredu maztre.3d ed. Paris: Didier,1879. Conisbee, Philip."Pre-Romantic 'Plein-air' Painting." Art Histozy2 (December 1979): pp.413-28. Courthion, Pierre, comp.anded. Gericault,racontepar lui-memeet par ses amis. Vesenaz-Geneva: Pierre Cailler, 1947. Delacroix, Eugene. TheJournal of EugeneDelacroix. Translated byWalter Pach. NewYork: Grove Press, 1961. Deperthes, JeanBaptiste. Theoriedu paysage. Paris: Lenormant, 1818. . Histoirede l'art du paysage.Paris: Lenormant, 1822. Diderot, Denis.Salons,edited byJeanSeznec andJeanAdhemar. 4 vols.Oxford: Clarendon Press,1957-67. . Sur l'art et les artistes,editedby JeanSeznec.Paris: Herrnann, 1967. . Oeurresesthetiques, editedby PaulVerniere. Paris: Garnier Freres,1968. Dorbec, Prosper. L'Artdu paysage en France:Essai sur son evolutionde la fin du xwIIesiecle a la fin du SecondEmpire.Paris: HenriLaurens, 1925. Dubaut,Pierre.Sammlung Hans E. Buhler: Gericault, I79I-I824; Gemalde, Aquarelle, Zeichnungen. [Winterthur: Verlag BuchDruckerei, 1956]. Dupuis, A. Reflexions sur les paysagesexposesau Salon de I8I7. Paris,1817. Eitner, Lorenz. "Two Rediscovered Landscapes by Gericault andthe Chronology of His Early Work." Art Bulletin 36 (Junelgs4a), pp. 131-42. . "Gericault at Winterthur." BurlingtonMagazine 96 (August lgs4b), pp. 254-59. . "TheOpenWindow andthe Storm-Tossed Boat: An Essayin the Iconography of Romanticism." Art Bulletin 37 (December 1955),pp. 281-go.
72

1959),pp. 115-26. 53 (February desBeaux-Arts in 1824." Gazette Studio . "TheSaleof Gericault's of University Chicago: of Chicago. Art Institute in the ofDrawings AnAlbum . comp. anded.Gericault: Press,1960. Chicago Master Drawings Classicism." 'DyingParis'and the Meaningof His Romantic . "Gericault's

Studies 2 (1967), pp. 7-17. Museum 'LaTempete."' . "Gericault's Museum of Art,1971. County LosAngeles Exhib.cat.LosAngeles: . Gericault. 1972. Phaidon, andNewYork: London Raftof theMedusa. . Gericault's Museum 2 (1973), pp. 3-9. Stanford Bearer." BlackStandard . "Gericault's 1974. DaCapo, NewYork: byEitner. of 1879ed.updated Reprint Clement. byCharles . ed.Gericault, 4-5 (1975), pp. 3-11. Museum Stanford at Stanford." Painting by Gericault . "ARediscovered 122 Magazine Burlington Grunchec." by Philippe peintde Gericault, of Toutl'oeurre . "Review 1980), pp. 206-lo. (March Press,1983. Cornell University Ithaca: HisLifeand Work. . Gericault: Art,1987. Museum of Modern Exhib.cat.Kamakura: In Gericault. . Essaysandentries. TheFineArtsMuseum Exhib. cat.SanFrancisco: I79I-I824. Nash.Gericault, andSteven Lorenz, Eitner, 1989. Palaceof the Legionof Honor, California of SanFrancisco, Royal des Musee Brussels: ancienne. delapeinture Laes.Catalogue andArthur Hippolyte, Fierens-Gevaert, 1922. de Belgique, Beaux-Arts deDijon. desBeaux-Arts duMusee Dessins andSergeLemoine. Guillaume, Marguerite Monique, Geiger, 1976. Museedu Louvre, Exhib.cat.Paris: La d'uneradiographie." reveleeparl'identification de Gericault des sources Pierre."L'Une Granville, 18, no. 3 (1968), pp. 139-46. de France et desMusees du Lourre Revue de et desMusees du Lourre Revue de Gericault." du fait diversdansla peinture . "Sublimation 37, no. 4 (1987), pp. 278-83 France de la Societe (1791-1824)."Bulletin Gericault de Theodore posthume "L'Inventaire Philippe. Grunchec, 1976, pp. 395-420. Francais, de l'Art de l'Histoire Rizzoli, 1978. Milan: di Gericault. completa . L'opera VillaMedici,lg7ga. Exhib.cat.Rome: . Gericault. Revue de l'art43 (1g7gb),pp. 37-58. de methodes." Problemes . "Gericault: FoundaExhibitions D.C.:International Exhib.cat.Washington, by Gericault. Drawings . Master tion,1985. peril Clubdel Libro,1963. Edizioni Milan: Gericault. Antonio. del Guercio, Va.: Guide.Norfolk, Gallery Museum Art I. Chrysler French C. Nineteenth-Century Jefferson Harrison, Museum, 1985. The Chrysler Museum, Va.:The Chrysler Exhib.cat. Norfolk, Museum. from the Chrysler Paintings . French
1986.

(1963), pp. 21-34.

Art,1987. Museum of Modern cat.Kamakura: Exhib. In Gericault. andentries. Essays Hashi,Hidebumi. 1943. StudioPublications, andLondon: NewYork Drawings. ed. Master Holme,Bryan, in the ArtandArchitecture to theImpressionists: theClassicists comp. anded.From Gilmore, Holt,Elizabeth andCo.,1966. Doubleday History of Art,vol.3. NewYork: A Documentary Century. Nineteenth & Row,1979. Harper NewYork: Hugh.Rornanticism. Honour, Holbein, Basel:Les Editions du xIxesiecle. francais de maztres et aquarelles Walter. Dessins Hugelshofer, Magazine96 (August1954), Burlington by Gericault." Huggler,Max. "TwoUnknownLandscapes andHudson, London: Thames of theIgthCentury. Drawing French Jaccottet. Rene,andPhilippe Huyghe,
1956. 1947. La JeuneParque, Ecrits surl'art.Paris: Dominique. JeanAuguste Ingres, of The ArtInstitute Chicago: Drawings. of European Collection Harold.TheHelenRegenstein Joachim, 1974. Chicago, 115 (October Magazine Burlington Lithographs." the Datingof Gericault's Paul. "Towards Joannides, 1973), pp. 666-71 pp. 234-371947.

WayneState Exhib.cat. Detroit: TheAgeofRevolution. I774-I830: Julia,Isabelle.In FrenchPainting, Press,1975. University Arslan, di Edoardo in onore dell'arte Scritti di storia InArte in Europa: et l'Italie." Rene."Gericault Jullian, vol. 1, pp. 897-902. Milan,1966. Salonde I8I9. Paris,1819. moderne desBeaux-Arts; et de l'Ecole duMusee Paul.Annales Charles Landon,

73

Lebel,Robert. "Gericault, ses ambitions monumentales et l'inspiration italienne." L'Arte25 (OctoberDecember 1960), pp. 327-54. Lecarpentier, Charles Jacques Franscois. Essaisur le paysagedans lequelon traitedes diverses methodes pour se conduiredans l'etudede paysage.... Rouen: F.BaudIy, 1817. Lemoine, Serge. DonationGranville: Catalogue despeintures, dessins, estampes etsculptures. Oeurres realisees avant I900, vol. 1. Dijon: Museedes Beaux-Arts de Dijon,1976. Lochhead, IanJ. The Spectatorand the Landscapein theArt Criticism of Diderotand His Contemporaries. AnnArbor: UMIResearch Press,1982. McMordie, ColinP. "TheTradition of Historical Landscape in French Art,1780-1830." Thesis,Oxford University, 1976. Marcel, HenIy, comp.anded.Histoiredu paysageen France.Paris: Librairie Renouard, H. Laurens, 1908. Matteson,LynneR. "Observations on Gericault and Pinelli."Pantheon 38 (January-March 1980), Meier-Graefe, Julius.Delacrozxund Gericault:Faksimilesnach Werken der beiden Meister.Munich: R. Piper,19l 9. Mongan, Agnes. MemorialExhibition:Works of Artfrom the Collection of Paul J. Sachs(I 878-I965). Exhib. cat.Greenwich, Conn.: NewYork Graphic Society, 1965. Mongan, Agnes,and PaulJ. Sachs.Drawings in the Fogg Museumof Art;a CriticalCatalogue:Italian, German,Flemish,Dutch, French,Spanish,Miscellaneous Schools.3 vols.Radeliffe FineArtsSeries.Cambridge, Mass.: Harvard University, 1940. Mosby, DeweyF. "Notes on TwoPortraits of Alfred Dedreux by Gericault." ArtsMagazine58 (September
1983), pp. 84-85pp. 74-78-

Novotny, Fritz.Painting and Sculpturein Europe,I780-I880. Baltimore: Penguin Books,1960. Oprescu, G. Gericault.Paris: La Renaissance du Livre,1927. Pace, ClaireK. "'Strong Contraries . . . HappyDiscord': SomeEighteenth-CentuIy Discussions about Landscape." Joumal of the Historyof Ideas 40 (Januaxy-March 1979), pp. 141-55. de Piles,Roger. Coursde peinturepar principes.Paris: Jacques Estienne, 1708. Regamey, Raymond. Gericault.Paris: F.Rieder et Cie., 1926. Rosen,Charles, andHenriZerner. Romanticism and Realism.NewYork: Viking Press,1984. Rosenthal, DonaldA. "Gericault's Expenses for 'TheRaftof the Medusa."' Art Bulletin 62 (December
1980), pp. 638-40.

Rosenthal, Leon. "Le Paysage au tempsdu Romantisme." In Histoiredu paysage en France, editedby HenIyMarcel, pp. 211-243. Paris: Librairie Renouard, 1908. . "Apropos d'uncentenaire et d'uneexposition: La Placede Gericault dansla peinture franScaise."
La Revuede l'art 46 (1924), pp. 53-62.

Schaefer, Scott."TheCollection of Walter P.Chtysler, Jr." In Sotheby'sArt atAuction,I988-89, pp. 26-32. NewYork: Harper & Row,1989. Scheffer, Arnold. "Salon de 1827."Revuefrancaise(Paris), no. 1 (Januaxy 1828). Sells,Christopher. "ARevised Dating forPartof Gericault's 'Chicago Album."' MasterDrawings 27 (winter
1989), pp. 341-57-

Shone,Richard. "Current andForthcoming Exhibitions: London." Burlington Magazine 121(June 1979), Steingraber, Erich, ed. "Gericault: Heroische Landschaft mitFischern." Munchner Jahrbuch derbildenden
Kunst3o (1979), pp- 245-48PP 394-97

Szczepinska-Tramer, Joanna. "Recherches surlespaysages deGericault." Bulletinde la Societede l 'Histoire

de l'ArtFrancais,1973 (1974), pp. 299-317.

. "Notes on Gericault's EarlyChronology." MasterDrawings 20 (summer 1982), pp. 135-48. Toussaint, Helene.FrenchPainting:The Revolutionary Decades,I760-I830. Exhib.cat.Sydney: ArtGalleIyof New SouthWales,1980. Valenciennes, PierreHenri.Elementsde perspective pratiquea l'usage des artistes,suivis de reflezzonset conseilsa un eleve sur la peintureet particulierement sur le genre du paysage.Paris,1799. Vaughan, William. RomanticArt. NewYork andToronto: Oxford University Press,1978. Verdi, Richard. "Poussin's 'Deluge': TheAftermath." Burlington Magazine 123 (July 1981),pp. 389-400. Wells,William. "Gericault in the Burrell Collection." ScottishArt Review9 (1964), pp. 13-17. Wiercinska, J. "Theodore Gericault et le 'Lancier polonais' du MuseeNational de Varsovie." Bulletindu
MuseeNational de Varsovie 8 (1967).

Zerner, Henri."Theodore Gericault: Artist of ManandBeast." Apollo 107 (June1978), pp. 480-86.

74

OFEXHIBITIONS LIST

PerDubaut1956. 1907. FritzGurlitt, Galerie Gericault.Berlin, 1907Berlin. lgog. PerDubaut1956. Zimmermann, Galerie Empireund Romantik.Munich, gog Munich. Millenairenormand.19ll. PerDubaut1956. Rouen. Franscais, L'Institut St.Petersburg, FrenchPainting,I8I2-I9I2. centennale: L'Exposition 1912 St.Petersburg. . PerDubaut1956. April24-May16, HotelJeanCharpentier, Paris, de Gericault. d'oeurres Exposition ParisandRouen. ; Rouen,MuseedesBeaux-Arts. Basel.Dessinsfrancais. 1935.PerDubaut1956. 5-21, December Gobin, Maurice Paris, I79I-I824. &gouachespar Gericault, Dessinsaquarelles Paris. 935. 6 Paris.Gros:Ses amis, ses eleves.Paris,PetitPalais,1936. Maylo-2g, MM.Bernheim-Jeune, Paris, Exposition Paris. 937. Brooklyn XIX CenturyFrenchDrawingsfrom the Collectionof Paul J. Sachs. Brooklyn: Brooklyn. published. 1939.No catalogue Museum, Mass.,FoggArtMuof the Eighteen Thirties.Cambridge, Mass.FrenchRomanticism Cambridge, 12, 1943. 16-February January University, seum,Harvard of Museum Drawings,Prints.Boston, Paintings, East and West: of Landscape Years A Thousand Boston. 9, 1945. 24-December FineArts,October Mass.Betweenthe Empires:Gericault,Delacroix,Chasseriau Paintersof the Romantic 6 Cambridge, April30-June1, 1946. University, Harvard Mass.,FoggArtMuseum, Movement.Cambridge, from the Collectionof the Fogg Museumof Art, Harvard FrenchDrawingsof Five Centuries Detroit. 30, 1951. of Arts,Mayls-September Institute The Detroit Detroit, University. October-November Limited, FineArts Marlborough London, I79I-I824. Gericault, Theodore London. 952. Morgan ThePierpont Bruegelto Cezanne.NewYork, Drawings& Water-Colors: Landscape NewYork. 31-April1l, 1953. January Library, August30Winterthur, Kunstmuseum Winterthur: TheodoreGericault,I79I-I824. Winterthur. 8, 1953. November 9, 1954. January opened Bernheim-Jeune, Delacroix.Paris,Galerie Paris.Gros,Gericault, Portland Jr.Portland: P Chrysler, from the Collectionof Walter et al. Paintings Oregon, 6-57 Portland, San Francisco, also shownat SeattleArtMuseum; exhibition, 1956.A traveling ArtMuseum, Institute Minneapolis Museum; County LosAngeles Palaceof the Legionof Honor; California of Art; NelsonGallery Rockhill City,William of St. Louis;Kansas of Arts;CityArtMuseum 14,1957. 2, lg^6-April March of FineArts; Museum andBoston, of Arts; Institute TheDetroit TheMetroSummerLoan Exhibition,I958. NewYork, from PrivateCollections: Paintings 8 NewYork. 1958. of Art,summer Museum politan March-May Palais, Petit Paris, suisses. descollections 'oeurrefranSais Chefs-d a Matisse: De Gericault Paris. 1959. Ohio, Jr.Dayton, Chrysler, I78g-Ig2gfromthe CollectionofWalterP. Ohio.FrenchPaintings, 1960Dayton, 25-May22, 1960. March ArtInstitute, The Dayton 8, December Palaisdes Beaux-Arts, Gericault:Un Realiste romantique.Charleroi, 62-63 Charleroi. 6, 1963. 62-January lg-March11,1963. January desBeaux-Arts, Musee Rouen, UnRealisteromantique. Gericault: 63 Rouen. of Museum FinchCollege NewYork, from Four Centuries. Painters FrenchLandscape 65-66 NewYork. 9, 1966. 20, 1g65-Januaxy Art,October of Paul J. of Artfromthe Collection Exhibition:Works Memorial andNewYork. Mass., 65-67Cambridge,
Gericault: peintreetdessinateur(I7gI-I824).

CamGiven and Bequeathedto the Fogg Art Museum,HarvardUniversity, Sachs (I878-I965), 15, 15, 1g65-Januaxy November Mass.,FoggArtMuseum, Cambridge, bridge,Massachusetts.

26, 1967. 19, 1g66-Februaxy Art,December of Modern Museum 66; NewYork, Maylg-July19,1966. Delacroix, MuseeEugene Paris, romantiques. Delacroixet lespaysagistes 1966Paris. des Tuileries, Paris,Orangerie 1967-68 Paris.Vingtans d'acquisitiondu Musee du Lourre, I947-I967. 1968. 16,1g67-March December appartenant desoeurres Exposition dansla peinturefrancaise: Le Romantisme andLeningrad. 68-69 Moscow 1969;Leningrad, lg68-Januaty December Museum, Pushkin aux museesde France.Moscow, April1969. through TheHermitage, of Art,October Museum County Gericault.LosAngeles andPhiladelphia. Detroit, -72 LosAngeles,

75

Opposite: Detailof thebillforthe three canvases fortheTimes of Day delivered to Gericault's studioon Julylo, August 4, andAugust18 (seep. 18)

l2-December12, 1971; The Detroit Institute of Arts,January 23-March7, 1972;Philadelphia Museum of Art,March 3o-May 14, 1972. -75 Paris,Detroit, andNewYork. FrenchPainting, I774-I830: TheAge of Revolution.Paris,Grand Palais,November 16, 1g74-February 3, 1975;The Detroit Institute of Arts,Marchs-May 4, ; NewYork, The Metropolitan Museum of Art,Junel2-September 7, 1975. NewYork. Natureas Scene: French Landscape Paintzngfrom Poussinto Bonnard. NewYork, Wildenstein, October 2g-December 6, 1975. Paris. Delacroz* et les peintresde la nature.Paris,MuseeEugeneDelacroix, June24-December 25, . No catalogue published. 6 Hamburg. WilliamTurnerund dieLandschaftseinerZeit. Hamburger Kunsthalle, Maylg-July18,1976. 6 Paris. Dessinsdu Museede Beaux-Arts de Dijon. Paris,Museedu Louvre, February 13-May3, 1976. 6-77 Paris. Dessinsfrancais de l 'Art Institute de Chicagode Watteau a Picasso: LxIIe exposition du Cabinet des dessins.Paris,Museedu Louvre, October 15, 1g76-January 17,1977. London. NineteenthCenturyFrenchDrawings. London, Hazlitt,Gooden& Fox,June 13-July14, 1979. 1979-80Rome.Gericault.Rome,VillaMedici, November lg7g-January 1980. 1980-81Sydney andMelbourne. French Paintir7g: TheRevolutionazy Decades,I760-I830. Sydney, ArtGalleryof NewSouth Wales, October 17-November 23, 1980; Melbourne, National Gallery ofVictoria,December 17,lg80-February 15, 1981. 84 Mareq-en-Baroeul andDieppe. Orages desires, ou le paroxysme dansla traduction de la nature.Mareqen-Baroeul, Fondation Septentrion, March3-June 3, 1984;Chateau-Musee de Dieppe,June lo-September 2, 1984. 85-86 New York, San Diego,and Houston. MasterDrawings by Gericault.New York, The Pierpont Morgan Library, June7-July31,1985; SanDiegoMuseum of Art,August 31-October 20, 1985; Houston, The Museum of FineArts,November 9, 1g85-January 5, 1986. 86-87 Raleigh andBirrningham, FrenchPaintingsfrom The ChryslerMuseum. Raleigh, North Carolina Museum of Art,May31-September 14, 1986;Birmingham Museum of Art,November 6, 86-January 18, 1987. 87-88 Kamakura, Kyoto,and Fukuoka.Gericault. Kamakura, Museumof ModernArt, October 31-December 20, 1987; Kyoto, National Museum of Modern Art,February 2-March21, 1988; Fukuoka ArtMuseum, March 24-April24, 1988. 89 SanFrancisco. Gericault,I79I-I824. SanFrancisco, TheFineArtsMuseum of SanFrancisco, California Palaceof the Legionof Honor, January 28-March26, 1989. ggo-9l NewYork andGeneva. VictorHugo and theRomanticVision: Drawingsand Watercolors. NewYork, JanKrugier Gallery, May4-July27,lggo;Geneva, Galerie JanKrugier, January-February 199l.

76

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