JEAN-LOUIS-ANDRÉ-THÉODORE GERICAULT (ROUEN 1791-1824 PARIS)

Los 79
18.05.2022 14:30UTC +01:00
Classic
Verkauft
€ 6 300
AuctioneerCHRISTIE'S
VeranstaltungsortFrankreich, Paris
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Archive
ID 761401
Los 79 | JEAN-LOUIS-ANDRÉ-THÉODORE GERICAULT (ROUEN 1791-1824 PARIS)
Schätzwert
€ 6 000 – 8 000
JEAN-LOUIS-ANDRÉ-THÉODORE GERICAULT (ROUEN 1791-1824 PARIS)Cavalier à cheval dans un paysage (recto) ; Attaque de la ville de Landshut d'après Louis Hersent (verso)avec inscriptions 'attaque [...] B[...] de Landshut' (au centre à gauche)pierre noire, plume et encre brune, lavis brun, aquarelle et gouache, les coins inférieur et supérieur gauche refaits25,3 x 31,6 cm (9 7⁄8 x 12 3⁄8 in.). Provenance Eudoxe Marcille (1814-1890) jusque 1890 ; puis par descendance aux actuels propriétaires. Literature C. Clément, 'Catalogue de l'œuvre de Géricault (copies et dessins)', Gazette des Beaux-Arts, t. XXIII, octobre 1867, p. 354, n°4.C. Clément, Géricault : étude biographique et critique avec le catalogue raisonné de l'oeuvre du maître avec un supplément par Lorenz Eitner, Paris, 1873, n°4. L. Eitner, Géricault, his life and work, Londres, 1983, p. 325, note 50.G. Bazin, Théodore Géricault : étude critique, documents et catalogue raisonné, II, Paris, 1987, pp. 262, 263 et 358, n°110 et 111. Exhibited Paris, Galerie Charpentier, Géricault, 1924, n°7. Post lot text JEAN-LOUIS-ANDRÉ-THÉODORE GERICAULT, HORSEMAN IN A LANDSCAPE (RECTO); ATTACK OF LANDSHUT AFTER LOUIS HERSENT (VERSO), BLACK CHALK, PEN AND BROWN INK, WATERCOLOUR AND BODYCOLOURThe Battle of Landshut (Musée national des châteaux de Versailles et de Trianon, inv. MV 1739) is an early work by Gericault created after the painting by Louis Hersent (1777-1860) that was shown at the Salon of 1810. It is possible that Gericault copied the work directly, with a few modifications, while at the Salon, or, as Eitner has suggested, after an engraving (op. cit., 1983, p. 325, note 50). At the time, the young man was frequently at the studio of Carle Vernet and then was the student of Pierre-Narcisse Guérin (1774-1833) where, as in all studios of the time, artistic training began by copying the works of masters.Also copied at the Salon of 1810, Gericault made another drawing after the Capitulation of Madrid by Baron Gros, a painting how in the collection of Versailles (inv. MV 1560). This drawing, conserved at the Musée Bonnat-Helleu in Bayonne, is similar to the current drawing: the composition is characterized by a strong contrast of light and shadow, as well as a certain frenetic energy and economy of line (Eitner, op. cit., 1983, p. 22, fig. 10). Four other copies of masterworks are conserved at the Musée Bonnat: The Siege of Madrid (inv. 701) et The Battle of the Pyramids (inv. 693) by Baron Gros, The Revolt at Cairo (inv. 702) by Anne-Louis Girodet (1767-1824), and The Battle of Austerlitz (inv. 756) by François Gérard (1770-1837). These copies were all previously in the collection of Coutan-Hauguet, which was sold at Hôtel Drouot on 16 December 1889. The sale included a number of lots sold as groups. It is possible that the present drawing of the Battle of Landshut came from the same collection. A copy of a work by Pierre Revoil (1776-1842), Le Roi Charles V, was in the collection of Pierre Dubaut (Eitner, op. cit.).At first considered a double-sided drawing, notably by Charles Clément, Germain Bazin proposed in 1987 that the present drawing was actually two sheets adhered to one another, back to back. However, the first hypothesis seems the most probable. The reverse drawing, in a composition which does not seem to be a copy after another artist, illustrates a man on horseback in a wooded landscape and uses a palette typical of the artist’s watercolours. We would like to thank Philippe Grunchec for confirming the attribution to Gericault based on a photographic examination of the work.
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