La méduse la plus grande du monde

THEODORE GERICAULT (ROUEN 1791 - 1824 PARIS) Portrait d"Alfred et Elisabeth Dedreux huile sur toile 99,2 voir 79,4 cm. (39½ cf 31 1/3 in.) je vole vers 1818

Vous lisez ce: La méduse la plus grande du monde

circonscriptions Becq ns Fouquières, parisien (vers 1883); elle vente, Paris, lhôtel Drouot, 8 peut être 1925, de nombreux 6; d"où acquis parHector Brame, Paris; d"où probablement achat parVicomte ns Beuret; elle vente, galerie Georges Petit, Paris, 11 peut faire 1931; d"où acquis parla baronne de Forest.Galerie Schmit, Paris, 1974.Galerie alain Tarica, Paris; d"où acquis en 1984 parYves heilig Laurent et roche Bergé.
L. Dimier, Histoire aux la titre française à XIXe siècle (1793 - 1903), Paris, 1914, p. 57.A. Flamant, "Un artis sportsman und dandy : Alfred de Dreux", in les Renaissance du l"Art Français, Avril 1921, p. 158 (illustré)."Revue des ventes aux mai", in Le figaro Artistique, 4 june 1925, p. 539."Le cahier d"un curieux", in ns Renaissance aux l"Art Français, juillet 1925, p. 331."A propos de Alfred de Dreux", in beau Arts, 15 célibataire 1929, p. 24. L. Eitner, "The daller of Géricault"s studios in 1824", in la Gazette des Beaux-Arts, février 1959, p. 124, noter 7.L. Eitner, Géricault, an albums of drawings in the de lart Institute du Chicago, Chicago, 1960, p. 32.F.H. Lem, "Géricault portraitiste", in L"Arte, juin/juillet 1963, p. 87, no. 13bis, pl. V.Catalogue d"exposition, Géricault, os Angeles, Detroit, Philadelphia, 1971, p. 60, no. 23.P. Grunchec, assez l"oeuvre peint de Géricault, 1978, p. 105, no. 116 (illustré).Catalogue d"exposition, Géricault, Villa Médicis, Rome, 1979, p. 226.D.F. Mosby, "Notes on two Portraits du Alfred Dedreux par Géricault", in de lart Magazine, vol. LVIII, no. 1, septembre 1983, pp. 84-85 (illustré).Catalogue d"exposition, Théodore Géricault, Kamakura, Kyoto, Fukuoka, 1987-1988, p. 13, fig. 2.R. Michel, in catalogue d"exposition, Géricault, grand Palais, Paris, 1991, p. 110 (illustré).B. Chenique, ibid., p. 279.S. Laveissière, ibid., p. 363.G. Bazin, Théodore Géricault, vol. V, Paris, 1992, pp. 83, 84, 238, no. 1721 (illustré).H. Zerner, "Le portrait, reconnaissance ou moins", in R. Michel (ed.), Géricault - conférences et colloques aux Louvre, Paris, 1996, pp. 329, 382-383 (illustré).B. Chenique, in table des matières d"exposition Géricault, La la démence d"un monde, Lyon, 2006, pp. 112 - 115, illustration en couverture, no. 48 (illustré).J. Coignard, "Chez calcul Bergé et Yves saint Laurent", in connaissance des Arts, no. 634, jan 2006, p. 49 (illustré)."Les chefs d"oeuvre ns la collection Yves heilig Laurent et roche Bergé", in comprendre des Arts, jan 2006, supplément, pp. 23-24 (illustré).L"Oeil, no. 580, peut être 2006, pp.5, 61, 73 (illustré).S. Allard, in Portraits publics, portraits privés, 1770-1830, Paris, 2006, p. 171.C. Clark, in Citizens and Kings, Londres, 2007, pp. 208-209, 325, no. 109 (illustré).

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Paris, Ecole des Beaux-Arts, Portraits aux siècle (1783-1883), 1883, no. 105.Paris, galerie Charpentier, L"Art et la vie romantique, 1923, no. 210.Paris, galerie Charpentier, Géricault, 1924, no. 249.Paris, Bernheim Jeune, Gros, Géricault, Delacroix, 1954, no. 31. Paris, galerie Schmit, Portraits français XIXe und XXe, 15 peut faire - 15 june 1974, no. 25.Lyon, musées des Beaux-Arts, Géricault, la folie d"un monde, 21 avril - 31 juillet 2006, cat. No. 48.Londres, Royal académie of Arts, Citizens et Kings, Portraits in the age of change 1760-1830, le 3 février - 20 avril 2007, no. 109.
no VAT will be charged nous the hammer price, cible VAT payable at 19.6% (5.5% parce que le books) will certainly be included to auto buyer’s premium i beg your pardon is invoiced conditions météorologiques a tva inclusive basis

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PORTRAIT de ALFRED et ELISABETH DEDREUX, passant par THEODORE GERICAULTOIL on CANVASPainted circa 1818GERICAULT"S boy PORTRAITSAlthough Théodore Géricault"s especially gifts as both a personnage painter and acute observer of his own temps should have translated easily into portraiture, the type occupies only a small, albeit highly unusual, part du the artist"s oeuvre.Géricault was superbly able à render thé full gamut ns human emotion. Indigenous his detached marqué psychologically piercing portraits ns the insane, his pathos-filled image of the English working des classes to his touching rendering of his friend général Letellier nous his death-bed, Géricault strove towards a an excellent energy of expression in his work, i m sorry in toutes les personnes the above examples is in harmony v its subject matter.Most de Géricault"s few portraits depict thé children of close friends. Auto two portraits de Pierre-Anne Dedreux"s youngsters Alfred and Elizabeth, the Portrait of an adolescent Boy, are tous part de a series which included another single portrait ns Alfred Dedreux (lot 83, fig. 1), and portraits of Olivier Bro and Louise Vernet. One would thus expect them to reveal a spontaneity and intimacy in keeping with your subject. Instead his kids are detached et monumental, presented through a haunting intensity i m sorry jars v the fond of their young age.That Géricault to be striving à create a dramatic effect frais removed from any kind de naturalism is clear when comparing the finished suite portrait de the Dedreux children with that preparatory illustration (lot 83, fig. 1). The latter, spontaneously executed in soft lines, shows elizabeth looking admiringly upwards towards her brother that peers smilingly out du the corner ns his eyes towards auto viewer; auto scene is relaxed, thé setting et gender roles traditionally defined.In the finished painting, Géricault presents deux statuesque, androgynous beings who stare the end towards auto viewer. Elizabeth now supporter above her elder brother, whose tousled hair et trouser suit have been replaced with curls and a smock which render him almost indistinguishable native his sister. Auto chiaroscuro, offered to modèle the children"s features, gives to each a deep set, haunting et cold expression which is in no way alleviated de the nominal affecter conveyed by each la honte wrapping an arm around the other. Even the device de the flower in Elizabeth"s hand reverses auto typical conventions of portraiture: instead ns enlivening thé composition, auto plant droops heavily, adding to a powerful sense of mass.As Régis michel writes: "He seul executed a handful ns portraits - mostly de children (...). There is miscellaneous disturbing about these unexplained creatures - in auto sense ns "Unheimlichkeit" dear à Freud, or ns a worried strangeness attaché of mauvais dreams. These massive bodies, brooding heads, solemn poses et grave expressions form a puissant canon which une would hardly associate with thé liveness de childhood" (exh. Cat., Géricault, 1991, op. Cit., p. 108).In essence, Géricault"s youngsters convey a sense ns "otherness"; inscrutable marqué profoundly self-conscious, they occupy a civilization impenetrable to adults, in which castle assert their difference passant par refusing to submit to the norms traditionally ascribed à them. Over there is, therefore, a profoundly mental element à these portraits which provides them strikingly modern. This sense of alienation is further heightened by the abstracting auto children from any type of recognizably domestic setting: auto landscape in all three paints represented here is barren et foreboding - almost funereal - and covered by a court sky de the most intensely vivid blue i m sorry recalls thé most fantastical compositions of Goya.The series de child portraits to be executed approximately 1817-18, at a critical junction in his career turning alloue in Géricault"s career. Ont Lorenz Eitner writes:"(...) hey made an abrupt change in his work, not seulement un abandoning his favourite contemporary subject-matter marqué also radically reforming his style. V sudden determination, he turned to thé only au lieu de, remplacer at hand, thé Neo-classical dénormes style (...). Par inborn talent a colourist et realist, hey deliberately thwarted his much more spontaneous tendencies, replaced colour with sharp light-dark contrasts, painterly result with structure design and, in his treatment du the human figure, limite himself venir a vocabulary ns rough stereotypes (...) totally indifferent à natural appearance. His "antique manner", had little to aller with typical classicism, though cette used it to express Classical themes. His very an individual intent to be to avoir greater expressive force: more considérable than thé increase in manage was the increase in dramatic intensity the his essayer at la discipline brought him. Unequal his earlier, more casual realism, this new, highly fabricated manner lent itself à resonant statements. Romantic in its intensity, obtained from the tradition of Michelangelo fairly than that ns David, cette expanded his range venir include fantasies ns terror, cruelty et lust." (L. Eitner, "Géricault", Grove Dictionary of Art).These boy portraits were private works, in which Gericault could audit his dénormes style avant applying it to auditeur paintings nous a more puissant scale. Auto dissonance between the vaste manner express in this vigorously Romantic, practically Goyaesque idiom, and the residential subject matter is quel gives these portraits your haunting power.The neo-classical roots ns Géricault"s trial and error are nowhere more obvious 보다 in his Head du an les adolescents boy (lot 85), i beg your pardon combines auto androgyny ns the Dedreux portraits through a pure Grecian déposer which has thé "disquieting vividness of tinted sculpture". (L. Eitner, Géricault, His Life et Work, London, 1982, p. 94.). Et while his portrait of elizabeth Dedreux shows elle in thé modish trappings ns a jeune girl, her pose is strongly Academic, et more typical of Géricault"s renderings du muscular male nudes.Géricault"s partnership to thé Dedreux household is an especially noteworthy. Hey enjoyed a fermé friendship v Elizabeth et Alfred"s uncle, Pierre-Joseph Dedreux-Dorcy. Himself a painter, Dedreux-Dorcy, commonly took his young nephew venir his friend"s studio, whereby Alfred was profoundly influenced by Géricault"s choice de subject matter, an especially horses. Passant par the time the double portrait right here represented was executed, Alfred, who was aged around eight, would already ont known Géricault fine - despite thé extraordinary psychological déménage which appears to separate him from thé world de adults.We space grateful to bruno Chenique à la his revision in thé cataloguing ns the works by Géricault in this sale.