{"Id":199,"Name":"Theodore Gericault","Biography":"GERICAULT, JEAN LOUIS ANDRE THEODORE (1791-1824), French painter, the leader of the French realistic school, was born at Rouen in 1791. In 1808 he entered the studio of Charles Vernet, from which, in 1810, he passed to that of \u003Ca href=\u0022http://www.artcyclopedia.com/artists/guerin_pierre-narcisse.html\u0022 target=\u0022_blank\u0022 class=\u0022link\u0022\u003EGu\u0026eacute;rin\u003C/a\u003E, whom he drove to despair by his passion for Rubens, and by the unorthodox manner in which he persisted in interpreting nature. At the Salon of 1812 G\u0026eacute;ricault attracted attention by his \u003Cu\u003EOfficier de Chasseurs a Cheval\u003C/u\u003E (Louvre), a work in which he personified the cavalry in its hour of triumph, and turned to account the solid training received from Gu\u0026eacute;rin in rendering a picturesque point of view which was in itself a protest against the cherished convictions of the pseudo-classical school. Two years later (1814) he re-exhibited this work accompanied with the reverse picture \u003Cu\u003ECuirassier bless\u0026eacute;\u003C/u\u003E (Louvre), and in both subjects called attention to the interest of contemporary aspects of life, treated neglected types of living form, and exhibited that mastery of and delight in the horse which was a feature of his character. Disconcerted by the tempest of contradictory opinion which arose over these two pictures, G\u0026eacute;ricault gave way to his enthusiasm for horses and soldiers, and enrolled himself in the \u003Cem\u003Emousquetaires\u003C/em\u003E. During the Hundred Days he followed the king to Bethune, but, on his regiment being disbanded, eagerly returned to his profession, left France for Italy in 1816, and at Rome nobly illustrated his favourite animal by his great painting \u003Cu\u003ECourse des Chevaux Libres\u003C/u\u003E. Returning to Paris, G\u0026eacute;ricault exhibited at the Salon of 1819 the \u003Cu\u003ERadeau de la M\u0026eacute;duse\u003C/u\u003E [\u003Cu\u003EThe Raft of the Medusa\u003C/u\u003E] (Louvre), a subject which not only enabled him to prove his zealous and scientific study of the human form, but contained those elements of the heroic and pathetic, as existing in situations of modern life, to which he had appealed in his earliest productions. Easily depressed or elated, G\u0026eacute;ricault took to heart the hostility which this work excited, and passed nearly two years in London, where the \u003Cu\u003ERadeau\u003C/u\u003E was exhibited with success, and where he executed many series of admirable lithographs now rare. At the close of 1822 he was again in Paris, and produced a great quantity of projects for vast compositions, models in wax, and a horse \u003Cem\u003E\u0026eacute;corch\u0026eacute;\u003C/em\u003E, as preliminary to the production of an equestrian statue. His health was now completely undermined by various kinds of excess, and on the 26th of January 1824 he died, at the age of thirty-three.\u003Cbr\u003E\u003Cbr\u003E\u003Cstrong\u003E\u003Cu\u003ESource:\u003C/u\u003E\u003C/strong\u003E Entry on the artist in the \u003Ca href=\u0022http://39.1911encyclopedia.org/G/GE/GERICAULT_JEAN_LOUIS_ANDRE_THEODORE.htm\u0022 target=\u0022_blank\u0022\u003E1911 Edition Encyclopedia\u003C/a\u003E.\u003Cp\u003E","Awards":null,"HasAlbums":false,"HasPortraits":true,"HasRelationships":true,"HasArticles":false,"HasDepictedPlaces":false,"HasLetters":false,"HasLibraryItems":false,"HasProducts":false,"HasSignatures":false,"HasVideos":false,"HasMapLocations":true,"TotalArtworks":51}