Theodore Gericault Prints, Posters, Fine Art

La Folle Giclee Print

Epsom Derby Giclee Print

Two Post Horses at Door of a Stable

Horses in Stables Giclee Print

Kiln at Plaster Works Giclee Print

Stagecoach Giclee Print

Barge Horse Giclee Print

Slaves Stopping a Horse Study for Race of Barbarian Horse

Bacchanal Giclee Print

Scene of Deluge Giclee Print

Storm or Shipwreck Giclee Print

Study of a Hand Giclee Print

Study of a Man Giclee Print

Cuirassier Giclee Print

Study of a Man Giclee Print

His most outstanding piece, The Charging Chasseur, shown in the Paris Salon of 1812, showed an influence styled from the manner of Rubens as well as a pursuit in the portraying of modern substance. This young success was succeeded by a shift in his direction: over the following several years Géricault created a set of modest studies of horses and cavalrymen. He would exhibit the painting Wounded Cuirassier with the Salon of 1814, which had been piece requiring additional labor in comparison to his previous works but the painting was less well accepted by critics. With the almost two years that followed the exhibit, Gericault went through a time of self-imposed discipline to study figure structure and composition, all the while demonstrating a preference for drama and communicative canvases.

A ensuing visit to Florence, and then on to Rome had been inspired in part by the want run away from a romantic entanglement Gericault had experienced with his aunt. The trip served to develop an enchantment with the works of Michelangelo he would discover. Rome itself shaped the desire to work with large canvas, as seen in the painting the Race of the Barberi Horses. It is a painting portraying an epic theme and abstract topic which had been assured to be "entirely without parallel in its time". The outcome however was that Géricault never finished the work, and went back to France.

Portrait of Louise Vernet as a Child 1818-19

Raft of Medusa Poster

Officer of Hussars Stretched Canvas

Warrior with a Spear

Study of a Dapple Greyt

Study of a Male Giclee Print

Cheval Cabre Giclee Print

Portrait of Theodore Gericault

A Negro Giclee Print

A Young Negro Woman Giclee Print

Head of a Negro Giclee Print

Course de Chevaux a Epsom

Course de Chevaux Libres a Rome

Deux Leopards Giclee Print

Officer of Imperial Guard

During his artistic career Gericault continually went back to the military subjects of his former pieces, and the set of lithographs he created based on military themes following his coming back from Italy are believed to be some of the earlier masterworks of this medium. Possibly his most important, and surely most challenging painting, is The Raft of the Medusa, that portrayed the wake of a modern French shipwreck in that the captain has abandoned the crew and passengers and left them behind to die. This incident would become a public scandal, and Gericault's spectacular rendition delivered a modern-day disaster on a monumental size. The painting's notoriety grew from it's account of a corrupted administration, but it also depicted a more ageless subject at the same time, which was that of man's conflict with nature. It certainly charged up the imagination of the youthful Eugene Delacroix, who modeled for one of the dying people in the painting.

The classic portraying of the people and basic construction of The Raft of the Medusa stand in direct contrast to the upheaval presented by the topic. One can see a significant span in methods from neo-classicism as well as romanticism. The art work blends numerous influences: the Last Judgment of Michelangelo, the large approach to modern-day issues by Antoine-Jean Gros, figure groups of Henry Fuseli, as well as perchance John Singleton Copley's work Watson and the Shark.

The painting itself kindled political debate at the time it had been first shown with the Paris Salon of 1819; it was then sent to be exhibited in England during 1820. In England it had been given a great deal of praise. When in London, Gericault saw urbanized poverty and created numerous sketches of his feelings on the subject, and later released lithographs founded upon these reflections. The lithographs are noted since they are unhampered with sentimentality.

Following Gericault's coming back to France, he had decided to paint a set of ten portrayals of the insane, people who patients of a acquaintance named Dr. Etienne-Jean Georget. The doctor was a innovator in the psychiatric practice of medicine and Gericault painted each patient subject displaying a different psychiatric affliction. The 5 other portraits from the set make up his final victory. The pictures are remarkable for the bravura flair, expressive reality, as well as for the documenting of the mental discomfort of humans, made all the more moving by the chronicle of insanity in Gericault's family, along with the painter's own delicate state of mental health. His observations on the human condition were not restricted to the living, for a few noteworthy still life drawings of cut off heads and limbs have been attributed to Gericault.

In Gericault's final attempts, he targeted exploratory studies for numerous epic pieces, which includes the Opening of the Doors of the Spanish Inquisition as well as the African Slave Trade. This was art born of large aspiration, but Gericault's declining health interfered. Weak by riding accidents and a prolonged tuberculous infection, Gericault passed away in Paris during 1824 following a long time of suffering. A bronze likeness of him, paint brush in hand, sits upon his grave in Pere Lachaise, over a panel of the famed Raft of the Medusa.

A Dapple grey horse in a stable, circa 1818
A horse frightened by lightning c.1810-1812
A horse-portrait: Tamerlan 1810
Académie d'homme
Bust portrait of a young man
Cheval attaché à la porte de l'écurie
Cheval de Napoléon c.1813
Cheval du plâtrier c.1822-1823
Cheval gris blanc c.1813-1815
Cheval noir dans une écurie
Coq, poules et cochon d'Inde
Deux chevaux dans une écurie c.1812-1813
Etude de cheval
Etude de peau de panthère c.1812
Groupe de lions
Homme nu à mi-corps
La bataille Corsini, after Salvator Rosa
Le concert
Le Général Letellier sur son lit de mort c.1818-1820
Le sommeil des paysans c.1812-1813
L'officier de chasseurs à cheval chargeant
L'ordonnance
Officer Of The Imperial Guard
Portrait de Laure Bro, née de Comères
Portrait de Olivier Bro enfant
Portrait of a Young Man
Portrait présumé de Alexandrine Modeste Caruel de Saint Martin
Portrait présumé de Mme Elisabeth Dedreux
Portrait Study of a young Man c.1810-1820
Portrait, certainement Alexandrine-Modeste Caruel de Saint-Martin c.1816
Race Of Wild Horses At Rome
Rooster, three Chickens and a Guinea Pig
Scène d'intérieur: Couple enlacé auprès d'une femme étendue
Study of an arm
The Bride of Abidos
The Madwoman
The Raft of the Medusa
Turc monté sur un cheval alezan brulé c.1810

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A Dapple grey horse in a stable, circa 1818
A horse frightened by lightning c.1810-1812
A horse-portrait: Tamerlane 1810
Academy man
Bust portrait of a young man
Cheval attached to the door of the stable
Cheval Napoleon c.1813
Mounted plasterer c.1822-1823
Cheval gray white c.1813-1815
Black horse in a stable
Coq, chickens and guinea pig
Two horses in a stable c.1812-1813
Study horse
Study panther skin c.1812
Group Lions
Male half-naked body
The battle Corsini, after Salvator Rosa
The concert
The General Letellier on his deathbed c.1818-1820
The sleep of peasants c.1812-1813
The officer of hunters on horseback charging
The ordinance
Officer Of The Imperial Guard
Portrait Laure Bro, born of Comères
Portrait of Olivier Bro child
Portrait of a Young Man
Portrait presumed Alexandrine Modeste Caruel Saint Martin
Portrait of Mrs. Elisabeth presumed Dedreux
Study Portrait of a young Man c.1810-1820
Portrait, certainly Alexandrine-Modeste Caruel Saint-Martin c.1816
Race Of Wild Horses At Rome
Rooster, three Chickens and a Guinea Pig
Interior Scene: Couple enlacé with a woman extended
Study of an ARM
The Bride of Abidos
The Madwoman
The Raft of the Medusa
Turkish mounted on a horse chestnut burned c.1810