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The Times of Day

GaEy Tinterow

THE MUSEUM
METROPOLITAN OF ART

The Metropolitan Museum of Art

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

THEMETROPOLITAN
MUSEUMOFARTBULLETIN-Winter
lggo/g
VolumeXLVIII,Number3 (ISSN0026-I52I)

Publishedquarterly(C)lggo by The MetropolitanMuseumof Art, looo FifthAvenue,New York,N.Y.

10028-0198. Second-classpostagepaid at New York,N.Y.,and AdditionalMailingOffices.TheMetropoli-
tan MuseumofArtBulletinis providedas a benefitto Museummembersand availableby subscription.
Subscriptions$22.00 a year.Single copies$5.95. Fourweeks'notice requiredfor change of address.
POSTMASTER:Send addresschangesto MembershipDepartment,The MetropolitanMuseumof 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
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ern 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 photographysuppliedby the institutionslistedin the captionsaccompanyingthe

illustrations,exceptas noted. PhotographyforworksfromMusee du Louvreand Musee Bonnatsupplied
by DocumentationPhotographiquede 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 recentlybeendemonstratedthat Gericaultwrotehis name withoutan accenton the e, even
thoughothersduringhis lifetimespelledit Gericault,thespellingconsistentlyuseduntilnow.In
thispublicationGericault'soriginalorthographyhas beenfollowed.
Page numbersafterquotationsin the textreferto worksby theseauthorslistedin the
Bibliography.

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Director's
Note

In 1953,whenNoon:Landscapewith a RomanTombandEvening:Landscapewith an
Aqueductwereexhibitedforthefirsttime,scholarshailedthereappearance
ofthese
twopicturesas themostimportantdiscoveryin Gericaultstudiesduringthiscentury.
LorenzEitner thena youngspecialiston Gericault,nowa greatauthority-
immediately publisheda longarticleon thetwoextraordinary landscapes,then
thoughtto be theonlyexamplesof theirkindbythisartist.In 1959,however,
Morning:Landscapewith Fishermenappearedin a Parissalesroom,havingbeenout
ofviewforexactlyonehundredyears.Sincethen,a numberof intriguingfactshave
surfacedanda greatmanyspeculations havebeenmadeaboutthesethreepictures,
includingtheprovocative suggestionjustlastyearthata previouslyunknownfourth
picture,representing
Night,hasbeenin a SouthAmericancollectionsince1949.
TocelebratetheMuseum'sacquisitionin 1989ofEvening:Landscapewith an
Aqueduct,we areunitingpublicly,forthefirsttime,thethreeknownpanelsof the
series,theTimesof Day,in an exhibitionrunningfromNovember6, lC}90, through
January13,1991.GaryTinterow, EngelhardAssociate CuratorofEuropean Paint-
ings,hasspentthelastyearin thepursuitof information whetherit be in provincial
archivesorin thememoriesof privatecollectors thatmightshedlighton these
gloriousbutenigrnaticpictures.He revealsthefruitsof hisresearchin thisBulletin,
whichsetsforththehistoryof theselandscapes,aswellas thatof Gericault's briefand
tempestuouscareer.

Philippede Montebello
Director

The Metropolitan Museum of Art

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 Acknowledgments

"Trembling, I commencedthisstudy,"CharlesClementconfessedatthebeginningof
his excellentbiographyandcatalogueraisonneof Gericault's life andwork
(publishedin serialformin the 1860S andthenrepublished, withcorrections, in
1879). Equipped witha remarkable memory,fastidiousnotes,andthe reminiscences
of a numberof artists,stillliving,whoknewGericaultintimately,Clementwas
eminentlysuitedto histask.If he trembled,writingonlyfiftyyearsafterGericault's
death,novicessuchas myself,writingone hundredyearslater,canonlyquake.No
nineteenth-century artistof Gericault'sstatureremainsas enigmatic;no oeuvre,
despiteits smallsize,so rifewithproblemsof attribution; no chronology, despiteits
too-brief span, so inadequately documented. We stilldo not know when
precisely
Gericaultpaintedhis remarkable seriesof portraitsof the insane,of
whichfilveoutof ten arelost,nordowe knowwithcertaintywhyhe paintedhis
studiesof severedlimbsandheads,perhapsthe mostextraordinary paintingsof the
nineteenthcentury.Despitea yearof intensiveresearchanda numberof promising
leads,we stilldo notknowwhyorforwhomGericaultpaintedthethreeenormous
landscapesthatarethe subjectof thisstudy,norwhetherhe actuallycompletedthis
series,theTimesof Day,witha fourthpanelthatlogicallywouldbe Nzght.But,
thanksto the unsparingparticipation of the individualsnamedbelow,we arenow
muchcloserto a glimpseof the elusivetruth.Althougha definitiveanswerto the
questionof the identityof the originalpatronorthe natureof the commission(ifthere
wasone)wasnotforthcoming(andperhapsneverwillbe),at leastwe no longerneed
be blindedbythepreviouslyheldassumptions regardingthe historyof thesepaintings
forin thelastfewmonthsalmosteverynotionhasbeenprovedfalse.
Firstthanksgo to theTrusteesof the Museum,the director,Philippede
Montebello,andEverettFahy,JohnPope-HennessyChairmanof the Departmentof
EuropeanPaintings,fortheirsupportof the acquisitionof the magnificentlandscape
thatthisexhibitionandpublicationcelebrate.Theexhibitionwouldnothavebeen
possiblewithoutthegenerousparticipation of HubertusvonSonnenburg andChristoph
Heilmann,directorandcuratorof the NeuePinakothek,Munich,andTherese
BurolletandAlainDaguerrede Hureaux,directorandcuratorof the Museedu Petit
Palais,Paris.Withoutthe supportof MahrukhTarapor,assistantdirectorof the
Metropolitan Museum,quitesimplytherewouldbe no exhibition.Sincerethanksare
extendedto the curatorsandcollectorswhogenerouslysharedworksin theircare.
DianeUprightandStefanieMaisonarethankedfortheirhelpin securingloans.
A greatnumberof individualslistenedpatientlywhileI endlesslyrehearsed
the mysteriessurrounding the historyof Gericault's heroiclandscapes,andeach
contributed something bywayof observation, insight,orinformation to the
outcomepresentedon thesepages.Amongthe mostpatientwereJeanSutherland
Boggs,PhilipConisbee,PeterGalassi,MichaelPantazzi,JosephRishel,andJeremy
Strick.In France,SylvainBellenger,HenriLoyrette,RegisMichel,andAnne
Rocquebert couldnothavebeenmorehelpful.Atthe Metropolitan, DavidKiehland
JamesParkerexpertlyanswered innumerable questions. At Sotheby's, Etienne
Breton,BenjaminDollar,NancyHarrison,andScottSchaeferall assistedwillingly.
AyWhangHsiaof Wildenstein& Co.,Inc.,liberallysharedhercopiousfilles.
WheelockWhitney,a longtimestudentof Gericault,wasexceptionally generouswith

AlexandreColin
(French,1798-1875)
Gericault,aftera Portrait
of I8I6 (detail), 1824
Lithograph,
The MetropolitanMuseumof Art,
HarrisBrisbaneDick Fund, 1926,
26.75.3
v L w v.#44XtS f
,owd
4r^;E
s Xe i%o-@s
his time,ideas,andarchives.LorenzEitner,thedoyenof Gericaultscholars,was
exceedinglytolerantof a trespasser
in hisvineyardandgenerouswiththefruitsof
his knowledge.
A specialcategoryof thanksis dueRobertMcD.Parker,whoconducted
extensiveresearchin Pariswiththe determination of a cleverdetective.He wishesto
thankBrigitteLaineof theArchivesde Paris,MichelleHermantof theArchivesde
l'Aisne,ClaudeJacirof the documentation centerof the Museede la Legion
d'Honneur,andAnne-Mariede Bremof theMaisonRenan-Scheffer. He alsothanks
DeniseAime-AzamandJacquelineDubautfortheirconversations. NatLeebandthe
Comtede Saint-Leongrantedme longandfascinatinginterviews,forwhichI am
mostgrateful.
Withhercharacteristic dedication,AnneM. P.Nortoncoordinated thisexhi-
bitionandcomposedtheprovenances, exhibitionhistories,andbibliographical
referencesforeachwork.As always,sheElrstsuggesteda numberof ideasthatI have
cometo thinkof as myown.Shewouldliketo thankSylvainLaveissiereforhis
suggestionto lookforNatLeeb'ssourcein Chasseriau's work.SusanAlysonStein
contributed manyvaluableinsights.GretchenWoldpatientlyandintelligentlysifted
throughmountainsof information, andIsabellede la Bruyerecheerfullyperformed
anynumberof chores.Last,I wouldliketo thankKatriaCzerwoniak, forwhomno
book,no matterhowobscure,wasbeyondthereachof theinterlibrary loanservice,
andJamesF.Joseph,whopatientlywaitedforme to Elnishthisproject.
Thisstudyis dedicatedto the memoryof fourgoodfriends GuyBauman,Eric
Klarer,PeterKrueger,andShiriLedor .who,likeGericault,diedtragicallyin their
thirties.
GT
Chronology

Thedocumentationforthedatescitedheremay befound in GermainBazin'se*cellent

compilationof recordsand earlyreminiscences
of theartist'slife.
See Bibliography,Bazin S987a,b.
1790 FebruaryI6
GeorgesNicolas Gericault,a forty-seven-year-oldlawyer,marriesLouise Jeanne MarieCaruel,
thirty-eight,in Rouen.
1791 September26
Birthof Jean Louis AndreTheodoreGericault,in Rouen. He is their only child.
1795- 1796 The Gericaultfamilymovesto Paris.
806 Gericaultis tutoredby MonsieurCastel.Afterwardhe enrolls at the foremostboys'schoolin
Paris,the LycFeImperiale.
807 May 9
The artist'smaternaluncle, Jean-BaptisteCaruel,fifty,marriesAlexandrine-Modestede
Saint-Martin,twenty-two.It is his secondmarriage,her first.
808 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.
NovemberI
Openingof the Paris Salon, where GericaultexhibitsOtficierde chasseursa chevalde la garde
chargeant,The ChargingChasseur(fig. 1),for which he wins a gold medal.
814 July6
Gericaultvolunteersfor the cavaltyof the king'smusketeers.
NovemberI
Openingof the Paris Salon, where Gericaultagain exhibitsThe ChargingChasseur,along with
ArtilleryExerciseon the GrenellePlain (nowlost) and Le CuirassierBlesse,The Wounded
Cuirassier(fig. 2). His paintingsare criticized.
814- 1815 Entersinto a romanticliaison with his aunt,Alexandrine-ModesteCaruelde Saint-Martin.
815 OctoberI
Gericaultresignsfromthe musketeers.
816 MarchI8
Gericaultcompetesfor the Prixde Rome. He passesthe firsttest but fails the second.He
decidesto travelto Italyat his own expense.
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.
September8
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
Correardand 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,riticismis
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.
820 AprilIO
The artistembarksfor Londonto exhibit TheRatCt of theMedusaat the Ep7ptianHall in
Piccadilly.He travelsto Brusselsand meets JacquesLouis David.
821 December2I
Gericaultleaves Londonfor Paris.
822 Gericaultsuffersa ridingaccidentand his health declines. Probablyduringthe courseof this
yearhe paintsthe ten Portraitsof theInsane(fiveof which are now lost) for the c elebrated
ParisianpsychologistDr. Georget.
823 Februaty
Gericaultis confinedto bed.
824 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
1
ln secluslon.
Paris, -e Mllsee __ (358x tlo 2g4cm)
Louvre,

Introduction

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

_ . Cuirassier
The Wourtded
__ _ _ Oiloncanvas,141xllS5/4in.

"Wheredoesthatcomefrom?" exclaimedJacquesLouisDavid(1748-1825), the

mostcelebratedpainterof his day,on seeingGericault'sChargingChasseur at
the Salonof 1812, "Idon'trecognizethetouch."Ofcoursehe couldnothave.The
Chasseur (fig.1)wasthe firstworkeverexhibitedbyJeanLouisAndreTheodore
Gericault (1791-1824), thetwenty-year-old pupilofPierreNarcisseGuerin(1774-1833),
a Neoclassicalpainterwhohadbeena studentof David's.Withoutlookingin his
catalogue,Davidcouldnothaveevenknownthatthe authorof the Chasseur hadbeen
enrolledin Guerin'sstudio,sinceit betrayednothingof the master'srestrainedcolor,
immobilecompositions, andporcelainlike finish.The Chasseur wasa brilliantamal-
gamof the Baroquebrioof Rubensandthepropagandistic militanyimageryof Baron
Gros(1771-1835), Napoleon's officialpainterofbattles,andofCarleVernet(1758-1836),
a specialistin suchsceneswhohadbeenGericault's firstteacher.Theyoungpainter's
declarationof independencefromhis properNeoclassicaltrainingwasa calculated
risk,butit wasworthtaking.Thefaultsof drawingandthe exaggerated proportions
wereexcusedbyno lessthanBaronVivantDenon,theinfluentialdirectorof the
MuseeNapoleon,as the Louvrewasthencalled.Carriedbythe dashof its patriotic
imagery,the Chasseur wonGericaulta goldmedal.However,thepromiseof his first
picturewasnotfulfilled atleastas faras the criticswereconcerned byhis second
Salonsubmission,TheWounded Cuirassier (lg. 2), shownin 1814. Itwastoo easyto
see in the anguishedfaceof theretreatingofElcer an analogyto thehumiliationsof
France'srecentdefeatandpresentpoliticalsituation.(PariswasoccupiedbyBritish
andRussiantroops,andthe newgovernmentof LouisXVIII existedattheirpleasure.)
Muchmoredaringthanthe Chasseur in itsmelancholicmoodandasymmetric
composition, wasmostoftencriticized,oddlyenough,notforthese
the Cuirassier

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Figure3
TheRaftof theMedusa
Oil on canvas,1955/8x 284 in.
(493.4 x 725-8cm)
Paris,Musee du Louvre,
Inv.4884
characteristicsbutforits roughbrushwork andlackof finish.Profoundlydisap-
pointed,Gericaultredoubledhis artstudiesdespitehis servicein the king'smuske-
teers.Oncehe hadcompletedhisvoluntatytourof duty,he competedforthe 1816
Prixde Rome,lost,buttraveledto Italyanyway,thanksto a generousannuity
bequeathedto himbyhismother.Atfirstdiscouraged, thenemboldenedbythe sight
of themonumentalfrescoesof RaphaelandMichelangelo,he returnedto Francelate
in 1817,brimmingwithideasforambitiouscompositions. He alsoreturnedto whathe
called"theterribleperplexity intowhichI haverecklesslythrownmyself,"an affair
withhisuncle'swife.Shortlyafterhis arrivalhe orderedan enormouscanvason
whichto painthis submissionto the 1819Salon,givinghimselfovera yearto prepare
themasterpiece thathe hopedwoulderadicatethememoryof his misfortuneatthe
814Salon.
TheRaftof the Medusa(fig.3) that"sublimemodel,"as Delacroixcalledit
in 1824- wasthemasterpiece. Thepowerof Gericault's visionwassuchthathe
alteredthe courseof Frenchpaintingwiththissinglework,an odeto man's
incorrigiblebutpathetichopewhenfacedwithnature'sdestructive force.Adopting
David'sheroicfiguralstylein his challengeto theNeoclassicalbeliefin theunequivo-
calsuperiority of manandreasonovernature,he proposeda newandverymodern
ideaof the expressivepossibilitiesof art.He hadattackedthereigningaestheticatits
vetyroot,asJ. A. D. Ingres(1780-1867)wasquickto recognize:"Ishouldliketo see
removedfromthe Louvrethatpictureof theMedusaandthosetwobigDragoons[The
ChargingChasseurandThe WoundedCuirassier],its acolytes.. .thentheywillno
longercorruptthetasteof thepublic,whichshouldbe accustomedsolelyto the
Beautiful....I resenttheMedusaandthoseotherpicturesof the dissectingroom
[Gericault'sstudiesof humanlimbs]:theyshowus manonlyas a cadaverand
reproduceonlytheuglyandthehideous.No!I objectto them.Artshouldalwaysbe
beautifulandshouldteachus nothingbuttheBeautiful"(p.53).ButDelacroix,who
9
-

as a youngmanhadposedforGericault,sawin the studiesof cadavers"thebest Figures4-6

argumentforBeautyas it oughtto be understood." He observedthat"throughit one The Times of Day, 1818
Each panel:oil on canvas,
sees evetything thatDavid lacked,
always thatpower of the picturesque, thatvigor, approx.98X/2 x 86l/4in.
thatdaringwhichis to paintingwhatthe vtscomica is to the artof the theater" (pp.575, (250 x 219 cm)
574).Indeed,byexploringextremestatesof emotion,on the one hand,andusing Morning:Landscapewith
motifsof everydaylife,on the other,andwithhisverymodernambitionto paint Fishennen(no. 5)
contemporary subjectscombiningthe grandeurof Neoclassicism withthe colorand Munich,Neue Pinakothek
Noon:Landscapewitha Roman
energyof Baroqueart,Gericaultsparkedthe lampthatilluminatedthe careerof the Tomb(no. lo)
greatDelacroix,aswell as of a hostof so-calledminormasters HoraceVernet,Ary Paris,Musee du Petit Palais
Scheffer,EugeneIsabey,LeonCogniet.In theyearsafterGericault's prematuredeath Evening:Landscapewithan
in 1824,thesepainterswerethoughtto epitomizeRomanticism; butGericault's own Aqueduct (no. 11)

contribution wasneverobscured.In 1828ArnoldSchefferwrotethat"Gericaultis the The MetropolitanMuseumof Art

See also pp. 43, 48, 52
headof thisnewschoolthatproposesforits goalthe faithfulrepresentation of strong
andtouchingemotions,whichrightlyorwronglyis calledthe RomanticSchool"
(p.196).Gericaultwas,as TheophileGautierwrotejusta generationafterhis death,a
"Romanticist longbeforeRomanticism."
Gericaultappliedthe samevigor,daring,andpowerof the picturesque
evidentin his figurepaintingsto theTimesof Day,a remarkable seriesof landscapes
executedin summerandautumn1818,the periodwhen he made his dissecting-room
stilllifes(seefig.1oe,p. 51)andbeganworkon TheRaftof the Medusa. Superficially,the
threelandscapes(f41gs. 4-6) Morning(no.5), Noon (no.10), and Evening (no. 11)
areno morethandecoration,largeassemblagesof familiarmotifsof oldItaly,
evocativeenoughto furnisha roomwiththe strongperfumeof nostalgia.Intheir
compositequality,theyanticipatethewallpapermuralsthatcameintovoguein the
mid-1820s(seefWlg. 7),justafterGericault'sdeath.Onotherlevels,however,theyare
extraordinary. Theyconstituteone of the lastrepresentations of theTimesof Day,a
populareighteenth-century conceit,beforeMonet'sverydifferentserialpaintingsof
the 18gosonthe sametheme.Theyareperhapsthe grandestexamplesof the genre
of heroiclandscapepaintedin Restoration France(1814-30),andin theircomplete
rejectionof naturalismandtheirfrankappealto the sensibilityof the sublime,they
arevirtuallyuniqueexamplesof FrenchRomanticlandscapes.EssentiallyanAnglo-

10
 Figure 7
Dufouret Leroy
Landscapesof Telemachus: Mentor
ThrowsTelemachusintothe Sea, 1825
Printedwallpaper
Plate 21 fromLeschefs-d'oeurre
du papierpeint:Tableauz-Tentures
de Dufour& Leroy.Paris:Librairiedes ArtsDecoratifs

Saxonnature-drama, asWilliamVaughanhascalledit (p.180),trueRomantic

landscapepainting,as practicedbyFriedrich,Turner,Martin,Allston,andKoch,was
notseenin France.Delacroix,forone,identifWled "thoseexaggeratedeffects,those
darkskies,thosecontrastsof shadowandlight"withEnglishart(p.663).
Ineighteenth-centuny Francethe sublime,an aestheticidealthatgained
currencyin the secondhalfof the centuny, wasoftenapproached butrarelyattained.
Almostexclusivelypursuedbyhistoricallandscapepainters,the notionof the sublime
emergedas a reactionto therigidcategorization of genres.In 1708the Frenchart
theoristRogerde PilescodifWled thedefWlnitionsof twodistincttypesof landscape
paintingthatweremaintainedbyacademicians andcriticsthroughthe earlynine-
teenthcentury,paysageheroiqueandpaysagechampetre.ThefWlrst wasa high-minded
moralartidentifWledwithPoussin,exemplifWled, forinstance,bythe FourSeasons
(fi1gs.
8-1 1);the seconda lessrigorous,bucolic,andnaturalistic styleidentif41ed
with
Claude.Bothtypeswereconsideredinherentlyinferiorto historypainting,in which
greatideaswererhetorically expressedbynoblefWlgures. Nevertheless, heroicland-
scaperequiredbothdisciplineandgenius:Itwas,accordingto de Piles,"Acomposi-
tionof objectswhichin theirownwayextractfromartandNatureallthatis grandand
extraordinany.... Naturerepresented if nothowchancemakesit be seenevenyday,at
least,as oneimaginesit oughtto be. Thisstyleis an agreeableillusionanda pieceof
enchantment" (p.202).DenisDiderot(1713-1784),the Frenchphilosopher, wrotea
greatdealaboutlandscapepaintingduringthemid-eighteenthcentuny, andin
particularabouttheworksof ClaudeJosephVernet(1714-1789).Diderotconcurred
withde Piles'sclassifWlcation,
but,in his desireto promoteto thehighestgenresthe
workof the artistshe admired7 he setoutto redefilne the conceptof histonypaintingto
includeheroiclandscape as paintedbyVernet."Iprotesthoweverthat.. .the
marinesofVernet,whichofferall sortsof scenesandincidents[ofhighhuman
drama]areforme justas muchhistonypaintingsas The Seven Sacramentsby
Poussin"(Oeurresesthetiques,p. 726).Thekeyquestionwaswhetherlandscapecould
effectivelycommunicate ideas.Diderotusedthenotionof the sublime,whichhe
detectedin Vernet'sbestwork,asthejustifWlcation to elevatethe statureof heroic
landscapepaintingto thatof histonypainting.In his defilnition of the sublime,Diderot

1 1
followedEdmundBurke:"Whatever is in anysortterrible. . .oroperatesin a manner Figures8-11
analogousto terror,is a sourceof the sublime."TwoyearsafterBurke'sPhilosophical NicolasPoussin
EnquiryintotheOriginof OurIdeasof theSublimeandBeautifulappearedin French, (French,1594-166S)
The Four Seasons, 1660-64
Diderotwrotein his reviewof theVernetsshownatthe 1767Salon,"allthatstunsthe Each panel:oiI on canvas,46l/2x
soul,allthatimprintsa feelingof terror,leadsto the sublime"(Salons,III, p. 165,). 63 in. (118x 160cm)
Vernet'sspectacular lateShipwreck (fig.12), withits convincingrepresentation of the Springor TheEarthlyParadise
threatof a watetydeath,is a goodexampleof the kindof paintingthattransported SummerorRuthand Boaz
Autumnor TheSpieswith Grapes
Diderotto a sublimeexperience. from thePromisedLand
To stunthe soul,to stirthe mindwasthe highestambitionanyartistcould Winteror TheDel7lge
have,andbythe endof the eighteenthcentutymostartistsandtheoristsagreedthat Paris,Musee du Louvre,
landscapepainterscouldachievethisgoal,butonlyunderthe properconditions. Invs.7303, 73°4, 73°Sv7306
PierreHenriValenciennes(175,0-1819), the principalFrenchlandscapistattheturn
ofthenineteenthcentury,summarized currentthinkingonlandscapein his 1799-1800
ElementsofPerspective andReJ7ectionsandAdvicetoa Student.He followedde Piles's
categorizationofpaysagechampetre andpaysageheroique(whichhe calledhistorique
to makean analogyto histozypainting),notingthat"theElrst is paintedwiththe
feelingof color,the secondwiththe colorof feeling"(quotedin McMordie1976,p.
65,).However,Valenciennes wasconcernedthattheincreasingpopularity of naturalist
landscapepaintingwouldunderminethe grandmannerhe hopedto instillin future
generationsof Frenchpainters.He thereforeofferedthe followingadvice:"Nicolas
Poussin,AnnibaleCarracci,Domenichino,andothershavedonewhatHomer,Virgil,
Theocritusandall thefamouspoetswouldhavedoneif theyhadpaintedwithcolors.
Theymeditatedon [thepoets]and,in closingtheireyes,theysawthatidealNature,

12
Figure 12
ClaudeJosephVernet
(French,1714-1789)
Shipwreck,1787
Oil on canvas,45 x 595/8in.
(151.4x 114.3cm) thatNatureadornedwithwealthof imagination,whichonlygeniuscanconceiveand
Hartford,The Wadsworth represent"(p.377).In otherwords,one shouldnotpermitvisionsof unidealized
Atheneum,The Ella Gallup to contem-
Sumnerand MaxyCatlinSumner
nature,orreality,to sullythe canvas.This,however,wasin contradiction
Collection porarypractice.Atthe endof the eighteenthcentury,moreandmorepainterstrekked
intonatureandbroughtbackvibrantsketchesthattheythenusedas modelsfor
elementsof theiridealviews.AlthoughValenciennes, forexample,neverexhibitedhis
exquisiteoil sketches,a realistapproachto landscapecanbe detectedin themanner
in whichhe treatedindividualmotifs.
FranbcoisBeno1thasdemonstrated thatwhileheroiclandscapewasheldin
higheresteembytheoristsatthebeginningof the nineteenthcentury,naturalistor
realistlandscapewasmorepopularlypracticedandadmiredatthistime.Between
1791and1814,one quarterof thepaintingsexhibitedatthe Salonswerelandscapes.
Before1806,composed,or"ideal,"landscapesconstitutedhalfof the landscapes
shown,andtopographical views,or"portrait" landscapes,the otherhalf.Afterward,
thebalancetippedagainsttheideal.Bythefallof the Empire,heroiclandscapes
comprisedon averageonlyone outof onehundredsubmissionsto the Salon.In an
attemptto countermand thistrend,thegovernment pressedthefineartsacademyto
createa Prixde Romeforlandscapepainters so thattheirstudies,likethoseof
historypainters,couldbe inspiredbythemonumentsandcountryside of Italy.The

Figure 13
PierreHenriValenciennes
(French,1750-1819)
TheAncientCityofAgrigento, 1787
Oil on canvas,43l/, x 645/8in.
(llOX 164Cm)
Paris,Musee du Louvre,
M.N.R. 48

13
Studyfor
Graphite and Decorative
wash on paper, Panel i ;FX

- s

ir v
w e I
.,

';?,

85/lff X 109/lff in. (21.1 X 26.8 cm) _ .

Bayonne,MuseeBonnat, X _ / {]
Inv.802E i2_|P

with
Landscape
DetailofEvening:
anAqueduct(no.1l)

secretaryof the academy,Quatremere de Quincy,resistedatf1rstin partbecausehe

soughtto maintainthe priorityof historypaintingoverlandscapepaintingandin part
becausehe resentedgovernmental interference in theacademy's affairs(seeMcMordie
1976).He relentedin 1817,butnaturalismhadalreadyinfiltratedeventhemost
rigorouslyclassicallandscapes.Valenciennesandhis followersassembledtheir
idealizedcompositions fromsketchesmadedirectlyfromnatureandimbued
theircompositions withpalpablyrealisticatmosphere(seefig. 13).
Gericaulttooka completelydifferentcourse.HisTimesof Dayarecon-
structednotfromnaturestudiesbutfromthe studyof greatart.In a purely
intellectualmanner,he appropriated motifsfromtheworksof otherpaintersand
arrangedthemin compositions thatconformed to the contemporary deE1nitionof
heroiclandscape,thehighest category of landscape, as described in an 1817 by
treatise
C. J. F.Lecarpentier (1787-1877),a minorpainterandessayist: "All thatconstitutes
the compositionof thesepaintingsmustbe at oncegrand,noble,andsimple.There
shouldbe somegoodpiecesof architecture in the appropriate places,eitheras the
imaginationof thepainterwouldrepresentthemin theiroriginalstateof splendor,
withtheirbeautifulformsandtheirgoodproportions assignedto thembythe Greeks
andRomans,oras the artistwouldcontenthimselfto imitatethevestigesthatescaped
theravagesof revolutionsorthe longseriesof centuriespast"(p.59).Intheory,
Gericault'sTimesof Daywouldevenhavesatisfiedthe academy'scriteriaforgreat
heroiclandscapes,but,in fact,theirdisproportionate scaleandobviousquotations
fromearlierpaintingswouldhaveshockedthem.
Rejectingcompletelythe sweet,atmospheric realismof thenaturalistic
landscapepaintingof the early1800Sandthetiredconventionsof academicpainting,
Gericaultreachedbackto the dramatic,animatedpaysages a etpet ofJosephVernet
andto the muscularartof the seventeenthcenturyas exemplifiedbytheworksof
Poussin,Dughet,andSalvatorRosa.He closedhis eyesto natureanddreamedof the
grandmanner.Withvertiginouspilesof mountains,leadenskies,gatheringstorm
clouds,anddesolateruinshe impartedterrorof unknownforcesintothe souland
reachedforthe sublime.Virtuallyno artistin Francepracticedthe styleof painting
reRectedin Gericault'sTimesof Day.Foranalogousworks,onemustturnto the
landscapesproducedcontemporaneously byforeignersin Italy,the centerof the early
nineteenth-century revivalof heroiclandscape:artistssuchas the GermanJosef
AntonKoch(1768-1839)ortheAmericanWashingtonAllston(1779-1843)(fi1gS. 16,
17).Tobe sure,Koch's panoramic vision reflected more elements
realistic of nature,

14
(German, 1768-1839) l ;si,¢ a _t

Figure16 | I |
JosephAntonKoch . .

TheSchmadrzbach
Waterfall, _ ' _
0i1oncanvas,5 17/8 X 43i8 in
Munich,NeuePinakothek,
Bayerische
Staatsgemalde-
sammlungen _ _ _
a_

Flgure17 _ ,
WashingtonAllston 5 _
(Amencan, l7zg-1843) 83 )'\

Elijah
intheDesert,
1818 _ _
Oiloncanvas,483/4x 72l/2in. i F oli
(123.8x 184.2cm)
Boston,Museumof FineArts, | x
Giftof Mrs.SamuelHooperand ,l l- 3
MissAliceHooper, , S
Acc.no. 70.1
whileAllston'salludedto theimaginaryworldsof Fuseli,Blake,andEnglishpoets,
butbothpainters'worksareimbuedwiththe samestrongessenceof Italy notthe
ItalythatClaudesawbathedin light,butratherthe Italyof Michelangelo's monu-
mentalSistineChapelandof the blastedtreesandfantastic mountains depictedin the
Dughets,Rosas,andPoussinsin theRomanpicturegalleries.Beforethe discoveryof
aninvoiceforthe canvasesthatestablishedthe dateof theTimesof Dayas autumnto
winter1818,scholarsdebatedwhetherGericaultpaintedthembeforeorafterhis trip
to Italyin 1816-17.True,thepicturesdonotconveyGericault's actualexperienceof
theItaliancountryside-one scholarevensuggestedthatthe artistcouldnothave
oncehe hadseenthem butit is unlikelythathe
paintedthe sitesso inaccurately
wouldhaveconceivedworksin thegenreof heroiclandscapewithouthavingbeento
Rome.Onehasonlyto compareGericault's firststudiesforlandscapepanels(fig.14),
probablyexecutedbeforehe leftforItaly,to thethreeknowncanvasesof theTimesof
Day(nos.5, 10,11),paintedafterhe returned,to see a cleardifferencein approach.
Thisearlywatercolor, althoughsomewhatcontrived,showsan attracti-ve bucolic
landscapethat,withits agreeabledistributionof lightsanddarks,wouldmakea

15
handsomedecoration.No ideais conveyed;he givesinsteada pleasantprospect.The Figures 18-21
Timesof Day,to the contrary, althoughsuperficially decorative,areat oncefarmore LouisJacquesCathelin
ambitiousandunsettlingin theirmood.Theobserver,likethe figuresin the land- (French,1739-1804)
scapes,is overwhelmed. afterClaudeJosephVernet
One'srelationship to natureis calledintoquestion,andthe (French,1714-1789)
mindracesas Gericault's visionis checkedagainstpersonalexperience. The Times of Day
The enormoussizeof the Timesof Day,approximately eightbysevenand Eachplate:etchingandengraving,
one-halffeet,is one of the mostsignificantfeaturesof the pictures.Wecannotknow 175/8x 223/8in. (44.7 x 56.9 cm)
whetherthe dimensionsweredeterminedbythe specifications of a commission Morning
Noon
or whethertheyarea statementbyGericaulton the importance he attachedto them. Evening
Theirsizeis surpassedin his oeuvrebyjustthreeof the fourpaintings(onenowlost) Night
thathe exhibitedpubliclyduringhis brieflife,thevastRaft, The ChargingChasseur, The MetropolitanMuseumof Art,
andThe WoundedCuirassier the lasttwobeingonlyslightlylargerthantheTimesof HarrisBrisbaneDick Fund, 1953,
Day.Thesepaintingswereall criticizedforbeingtoo largeandfornotconformingto 53 600-1674,1673, 1672, 1671
the conventional hierarchyof genreandrelativesize.C. P.Landon,a Frenchcritic,
touchedon the problemin his reviewof TheRaftatthe 1819Salon:"Wemayfeel
surprisedthatthe artist.. .shouldhaveusedthisimmenseframeandthesecolossal
dimensions.Suchgrandioseproportions arenormallyreservedforcelebratingevents
of a moregeneralinterest,suchas a nationalfestival,a greatvictory,the coronationof
a sovereign"(p.66). Delacroix,however,realizedthatsupernormal scalewasan
integralpartof Gericault'sstrategy.Recallingin 1853his reactionwhenhe stood
beforeRubens'simmenseRatsingof the Crossin Antwerp,he wrote:"Ithinkit is
appropriate forme to takenotehereof the quiteanalogouswayI havefeltbefore
Gros'sbattlepictures,andbeforetheMedusa,especiallywhenI sawit halffinished.
Theessentialthingabouttheseworksis theirreachingof the Sublime,whichcomes
in partfromthe sizeof the figures.... Proportion countsforverymuchin the greater
orlesserpowerof a picture.Notonly.. .wouldthesepictures,executedin smallsize,
be ordinary.. .but,weretheymerelylife size,theywouldnotattainthe effectof the
Sublime"(p.335).TheE1gures in the Timesof Dayaresmall,unlikethosein The
Raft,buttheirinsignificant scalein comparison to the hugelandscapesshowsthe
sameprinciplesin operation."TheSublime,"Delacroixnotedin his journal,"ismost
oftendue,curiouslyenough,to disproportion" (p.554).TheNeoclassicallandscape
specialistsof the 1810Srarelyembarkedon suchlargelandscapes,withorwithout
figures.Theirinterestlayin approaching beauty,notthe sublime,andbigcomposi-
tionscarriedrisksthattheywereunwillingto take.However,gigantismmayhave
beenin the airduringthe SecondRestoration. ComteForbin(1777-1841),who
arrangedforthe Louvreto purchaseTheRaft of theMedusain 1824,exhibitedatthe
1817Salonan eight-by-ten-foot canvasof Vesuviuserupting.Andthatsameyear
Michallonreceiveda commissionto painta hugelandscapeforthe 1819Salon,The
Death of Roland (Paris,Museedu Louvre),which,at oversixbyninefeet,is also
largerthanGericault's panels.
Nevertheless,largelandscapesweremuchmorefrequentin the eighteenth
century,whenJosephVernetandHubertRobertspecializedin decorativelandscape
ensembles.TheTimesof Daywereoftenthe subjectsof theseseries.Sincethe
Renaissance,artistshaddemonstrated theirmasteryof a varietyof effectsbypainting
the fourseasons,the months,orthetimesof day,butJosephVernetmadea specialty

16
of the latter.Hisgreatestseriesof canvases,the Timesof Dayon landandsea,were
paintedforthebilliardroomof the Marquisde Labordein 1766-67, andhis
best-knownworkswerea ubiquitousset of engravingsafterpaintingsof theTimesof
Daythathe hadmadein 1764-65forthe libraryof the Ducde Choiseul(figs.18-21).
Valenciennes, whoseideasoftenreflectedthoseof Vernet,wrotethatpaintersdivided
the dayintofourperiodsbecause"onefinds. . .moredecidedcontrasts,morepro-
nouncedoppositions,andmoredistincteffectsattheinstantdeterminedforeach
division.... Thefreshnessof themorningwouldbe bettersensednextto theburning
horizonof evening,andonewouldbetterappreciate the calmof nightandthe soft
silverlightof themoonin placingit in oppositionto theheavyatmosphereand
obliterating raysof the sunatnoon"(p.427).Readingeighteenth-centuny descrip-
tionsof setsof theTimesof Day,oneimmediatelyrecognizesthatin his pictures
Gericaultcloselyconformedto theseconventions. Althoughscholarshavedebated
the subjectsof Gericault'slargelandscapes,it cannowbe confidentlystatedthatthe
motifof fishermensettingoutandthe cool,graylightidentifythe Munichpictureas
Morning;thethunderstorm andharshblueskyestablishthe Parispictureas Noon;
andthe leisurelyswimmersand"burninghorizon"indicatethe NewYorkpictureto
be Evening.

17
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Gericault'ssetof theTimesof Daywasvirtuallyuniquein Restoration France.Why Figure22

didhe paintthem?Mostof his picturesweremadeeitherforexhibitionorforthe Detailofbillforthreecanvases
artist'sinstructionandpleasure.However,thepeculiarproportions, largescale,and fortheTimesof Day
identicalsizeof the canvasesof theTimesof Dayannouncethattheyconstitutea suite (seealsoinsidebackcover).
TheHemyP.McIlhenny Archives,
andthattheyweremeantto hangtogether,perhapsin a specificplace.If one PhiladelphiaMuseumofArt
discoveredwherethelargelandscapesweremeantto hang,onemightlearnforwhom
theywerepainted.Particularities of theircompositions,theirpalettes,andtheirscale
mightbe explainedbythe conditionsatthe siteforwhichtheyweredestined.More
important,hiddenmeaningsmightbe revealedif oneknewGericault's relationship
to
the patronorrecipient.
Gericaultleftnothingto explainhis motivein embarkingon theTimesof
Day.Fewof his lettersremain,andonlyrarelydo thesediscusstheprojectsin which
he wasengaged.However,one crucialdocumenthas survivedthatcategorically
establishesthe terminuspost quemforthe dateof thelandscapes: theinvoice(fig.22
andinsidebackcover)fromthe artist'ssupplier,Rey,for,amongotherarticles,the
threecanvasesdeliveredto Gericault'sstudioon July10,August4, andAugust18,
1818.Thedimensionscorrespond to thoseof Morning,Noon, andEvening.Miracu-
lously,the invoicewasdiscoveredtuckedintoa copyof Clement'scatalogueraisonne
belongingto thePhiladelphiacollectorHenryMcIlhenny, whoallowedit to be
publishedin 1980(Rosenthal1980).CharlesClement(1821-1887),the artist's
biographer, hadactuallyseenonlyone of thethreepaintings,Morning(no.5),which
he calledLarge VerticalLandscape.In his catalogueClementrecordedthata pendant
to it hadbeenseenin the artist'sstudioin 1818-19,buthe didnotknowthe subjectof
thependant,nordidhe commenton the possibleexistenceof otherpanels.

18
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Apartfromthe deliveryof the canvas,nothingelse canbe documenteduntil
psr k 6 4e e Ig^0>. *_rJ>n rw .
rwr * ts Fs Md",rt, 41: thirtyyearslater,when,on September8, 1848, a BaronDesazard,livingat 14 ruede
ts _@ u t.
ree YeqleYal-r-s
e., & U. CLCXCIfS.
X
rit *-sb.4^ , z
la Rochefoucault, offeredto sellMorningto the Louvre(Grunchec1g7ga,p. 220). The
paintingwasstillforsalein March1850, whenthe artistEugeneLouisIsabeywrote
EexPOslrlM l'^RTactIle.lze. the directorof theLouvreto recommendthepurchase,forfivethousandfrancs,of "a
EN POSITION 1't1ULI)UI .
rarething,beautifulin itself,andperhapsthe onlylandscapebyGericault"(Archives
Lz D_^ | ] cs k > I * S zo ; bS
duLouvreet desMuseesNationaux,P5 1850 mars).Thedirectorrespondedthathis
18Sf
budgetfortheyearhadalreadybeenexhaustedbythepurchaseof a Hobbema,a
Figure 23 Velazquez,andotherworksbymastersnotyetrepresented in the museum.
Title page of the catalogue Morningthenreappeared in 1859, whenClementsawit attheposthumous
forthe sale of the collectionof sale(seefig. 23) ofthe collectionof AryScheffer(1795-1858), a Romanticpainterand
Ag Scheffer,March15-16, 1859 lithographer whohadstudiedwithGericaultin Guerin'satelier.Atthe timeof his
death,Scheffer'scollectionconstituteda finesurveyof Gericault's subjects:twohorse
studiesafterRubens,a studyof a bulldog(Paris,Museedu Louvre),paintingsof a
Turkanda headof a youngman,andthe largelandscape.Schefferalsoowneda
numberof exquisitedrawings,notablysomeearlystudiesforTheRaJ2t of the Medusa,
aswell asthe entireChicagoalbum(seeno. 1),whichhe probablyassembledfrom
twonotebooksthathe acquiredattheposthumoussaleof the contentsof Gericault's
studioin 1824. In allprobability,Schefferboughtall of his Gericaults except
possiblythe landscape atthe studiosale,wheremasterpieces changedhandsfor
a fewfrancs.However,it is notknownhow,when,orwherehe obtainedMorning;
perhapshe boughtit fromBaronDesazardafterthe Louvredeclinedit in 1850. In
anyevent,Morningwasnotlistedin theposthumousinventory, preparedon June22,
1858, of Scheffer'srueChaptalapartment andstudio,althoughthe otherfi1ve
Gericaultswere.Scheffercouldhavekeptthelandscapeathis quartersin Argenteuil,
outsideParis,buttheposthumousinventoryof Scheffer'seffectsatArgenteuilcannot
be located.
A mannamedDornan(orDornon)boughtMoming atthe Scheffersalefor
1150 francs.Clement,whoservedas one of the expertsforthe sale,listedDornanas
the ownerin his 1879 catalogueraisonne,butDornanis notmentionedin anyof the
standarddictionaries of collectors.Morningremainedoutof viewuntil1959, whenit
wassoldin a Parisauctionbyan anonymouscollectorfromBordeaux.
Noon (no.10)andEvening (no.11)madetheirfi1rst publicappearance in a
salein Parison May30, 1903. Notedin the catalogueas pendantswere"important
decorative panels"calledVillageon a Riverbank[Noon]andLandscapewith Rocks
and Structures[Evening].Thecataloguealsosuppliedthefollowinginformation,
whichhasmisledresearchers forthe lastthirty-fiveyears:"Thesetwopaintingswere
paintedbyGericaultforhis friendMarceau,whosehousein Villers-Cotterets they
decorated.Theycomemostrecentlyfromthe Chateaude Montmorency." In fact,
Gericaultprobablydidnothavea friendnamedMarceau,theTimesof Dayalmost
certainlywereneverin Villers-Cotterets, andit is impossibleto documentthatthey
wereinstalledin the Chateaude Montmorency in theyearsprecedingthe 1903sale.
Modernscholarsacceptedthe accountgivenin the 1903salecatalogueuntil
1980,whenHeleneToussaint(1980,p. 106)identifi1ed Marceauas JeanHenry
Marsaux(1750-1840).Marsaux wholivedin the Hostelleryede la Croix-Rouge, a

19
seventeenth-century buildingatVillers-Cotterets,
northeastof Paris camefroma
familyof wealthylandownersandwoodmerchantswhoprofitedfromtheRevolution
bybuyingup the landsof fleeingnobles.However,Marsaux'snamedoesnotappear
amongGericault's papersorin his friends'reminiscences,andno worksbyGericault
appearin the posthumousinventoryof Marsaux'spossessionsdrawnup on July29,
1840. He didowna set of picturescalledTheFour Timesof Day, buttheywerethe
fourengravingsafterJosephVernet'spaintings(figs.18-21) andwerevaluedat six
francs.Marsauxownedonlyfewpictures,ofwhichnonewerebycontemporary French
artists,andthusit is unlikelythatGericaultexecutedthe largelandscapesforhim.
Thereferenceto the Chateaude Montmorency is equallyproblematic,for
therewereseveralchateausso-named.CharlesLe Brun,LouisXIV'S courtpainter,
builta housein 1670 at Montmorency, northof Paris,as his ownpleasurepavilion.
He enlargedit duringhis lifetime,butuponhis death,the chateauwasacquiredby
CrozattheYounger, whohadthe architectCartaudrestoreit to Le Brun'soriginal
design.The Cartaud/LeBrunbuilding,calledthe Chateaud'Enguyenin the eigh-
teenthcentury,becamethe residenceof the Ducde Luxembourg. Itwasdestroyedin
1878 andreplacedby an enormousFrenchRenaissance pilebuiltin 1881-82 (fig.24)
byCuvilliersfora newlyrichspeculatorin stocks,LeopoldSee. He wentbankruptin
the mid-l880s, andfromJuly24 to 29, 1886, the entirecontentsof the modern
Chateaude Montmorency "sumptuous furnishings,artobjects,tapestries,car-
riagesandplants" weresoldatthe house.ThetwoGericaultswerenotlistedin the
sale.Accordingto the townarchivist,the propertywaspurchasedin 1886 bythe Duc
andDuchessede Dino,whosoldit in lgol. Sincethepaintingswerenotauctionedin
1886, theycouldhavebeenbroughtto Montmorency bythe Ducde Dino.Itis
reasonableto assumethattheywereremovedlaterandconsignedto the 1903 auction.
However,the officialaccount(procesverbal)of the 1903 saleindicatesthatthe

Chateaude Montmorency,
built 1881-82 for LeopoldSee
j purchasedin 1886by the Duc
and Duchesse de Dino

20
Figures 25, 26
A view (left)of the outbuildingsof
the Chateaude Jeurre,
whichincludea towersimilarto
the one Gericaultdepictedin
Noon:Landscapewitha Roman
Tomb(no. lo, right)
consignorof themajorityof thelots (althoughthe ownerof thetwoGericaultsis not
specifically
cited)wasRenePetit-Leroy, whoseaddresswasgivenas 32 avenue
Montaignein Paris.MarieRenePetit-Leroy(b.1846) joinedthe Frenchministryof
foreignaffairsin 1867, servedin Tangiers,Rome,andBerlin,climbedtheladder
of bureaucratic success,andwasawardedthemedalof the Legionof Honor.He never
livedatthe Chateaude Montmorency, andif he wasthe consignerof thelarge
landscapes,howhe acquiredthemis a mystery.
A MonsieurLavilleboughtNoon andEveningatthe 1903 salefor1205
francs almostthe samepriceforthepairas thatpaidbyMonsieurDornanfor
Morningin 1859. Nothingis knownaboutLaville,whoboughtthreelotsatthe sale,
buthe mayhavebeenan employeeof the auctioneer,PaulChevallier. Accordingto
NatLeeb(d. lggo),a Parisianpainterandoccasionalartdealerwhoreputedlyowned
thelandscapesfrom1937 to 1949, Noon andEveningwerein thepossessionof the
Comtede Saint-LeonsoonafterLavillepurchasedthem.Arthur,ComteDufresnede
Saint-Leon(about1857-1947), wasan extraordinary, eccentriccollector,as interested
in architectural
fragmentsas he wasin orientalporcelainorFrenchpainting.His
primaryresidencewasthe Chateaude Jeurre,justoutsideParisat Etrechy,where
he andhis father,Henri,assembledandrestoredtheremainsof folliesthatHubert
RobertandothershaddesignedforgardensatMereville,nearJeurre.Arthurde
Saint-Leonalsoacquiredlargeelementsof thefabeades of importantParistown
housesandrebuiltJeurrein orderto accommodate them.He hauntedthe Hotel
Drouot,theParisauctionhouse,wherehe wasa frequent,impulsivepurchaser. His
grandsonLouisde Saint-Leonremembered thathis grandfatherwasa goodfriendof
JulesFeral,the expertwhoorganizedthe 1903 sale.ThusFeralcouldhavebrought
Noon andEveningto his attention.Andwellhe might,becauseGericault's assem-
blageof fabricatedRomanruinsreflectedthe samespiritthatguidedSaint-Leonat
Jeurre,whichevensporteda crenellatedtowerlikethatin Noon (figs.25, 26). Louis
de Saint-Leonhasindicatedthatthereis onlyone roomatJeurrebigenoughto
accommodate thetwolargelandscapes,the SalonRose,wherehe remembered that
his grandfatherhadinstalledlarge,darkpaintingsin the ceiling.He recalledatleast
twolargepaintings,possiblyflankinga third.At sixteenbyforty-eightfeet,the ceiling
21
wouldhavebeenlargeenoughto accommodate four.Admittedly,the ceilingwould
be a peculiarplaceforthe landscapes,butatJeurrea creative,eclecticspiritreigned.
Arthurde Saint-Leonhad,in thewordsof his grandson,"dramatic" needs
formoneyandwentbankruptduringthe 1930S.In 1937a marshalsoldoffportable
goodsin one of the outbuildingsatJeurre,andit wasthenthatNatLeebreputedly
boughtfourpanelsof Gericault's Timesof Day.JustbeforeEveningwasauctioned
in NewYorkin May1989,LeebinformedSotheby'sofficein Paristhathe had
purchasedthe fourlandscapesdirectlyfromSaint-Leonin 1937.Asthepictureswere
toolargeto be broughtintohis house,he keptthemin storageat a warehouserunby
AtlanticTransports on the avenueduMaine.Atthetimeof theirpurchase,he
reputedlymadedrawingsof the fourcompositions(figs.29-32), photography being
difficultto arrange.Leeb'sdrawingof Ntghtis thefirstdocumentto appearthat
indicatesGericaultpaintedfourpanels.
LeebtoldSotheby'sthatthefamilyof the Comtede Saint-Leonhad
acquiredtwoof the panels(presumably MorningandNtght)fromthe Duchessede
Montebelloin themid-nineteenthcentury,andthatthe othertwo,Noon andEvening,
hadbeenpurchasedbeforethe FirstWorldWar.Accordingto Leeb,Arthurde
Saint-Leongavehima letterwrittenbythe Duchessede Montebelloto a Saint-Leon
familymember.Leebsaidthathe subsequently gavethe letterto PierreDubaut,a
knowledgeable Frenchcollector,dealer,andconnoisseurof Gericault's work,who
meantto publishit. Itwasneverpublishedandcannotbe foundamongDubaut's
papers,butLeebfurnishedSotheby'switha typedtranscription.

2I JulyI850

My dearcousin,
SaturdayI will deliverto you theframefor TheArtillery
Train.Theother
Gericaultsdo not haveframes.My husbandhad thefour landscapespainted to
the dimensionsof the walls of the drawingroom.Theywerebuilt into the
paneling.

Verycordiallyyours,

L. de Montebello

Sadly,theletteris mostlikelya forgery.JeanLannes(b. 1769),laterDuc de

MontebelloandMarechalde France,one of Napoleon'sgreatestmarshalsandclosest
friends,diedas a resultof a battlefileld
injuryin 1809,nineyearsbeforeGericault
paintedthelandscapes,andcouldnothavecommissionedthem.However,it is
conceivablethatthe letteris authentic,andde Montebello'swidow,sixty-eightyears
oldwhenit wassupposedlywritten,erred ormisstatedthe factsin orderto makea
sale.LouiseGueheneucde Lannesde Montebello(1782-1856),a lady-in-waiting to
EmpressMarie-Louise,formeda considerablecollectionafterherhusband'sdeath,
andwhenshe died,filveauctionswerenecessaryto disposeof hergoods.Amongthe
22
lotswerea numberof important
paintings,includingan oil sketchof TheRaJCt
of the
Medusa,whichshe boughtfromGericault's studentJamar(andwhichis nowin
the Louvre),butnotthelandscapes.TheTimesof Daywerenotmentionedin the
inventoryof herpossessionsmadeon July5, 1856, orin thevariouswillsprobated
fromJuly8 to 17,nordotheyappearin thewillsorinventoriesof twoof hersons,
NapoleonLannes,Ducde Montebello,andGustaveOlivier,Comtede Montebello.
IftheDuchessehadownedthelandscapes,wherewouldtheyhavebeen
installed?In 1818, whenGericaultpaintedthem,shewaslivingin an enormoushouse
at 62 ruede Varenne.CalledtheHotelde Mazarin,it wasone of thegrandesthouses
in Paris,renownedforits earlyRococodecor.The de Montebellosacquiredit in 1807,
and,trueto thefashionof the day,replacedthe opulentRococointeriorwitha severe
butno less splendidinterior.Thereweretwonearlyidenticalsalons,backto back,
fittedwithoverdoors, paintedpanels,andpiermirrors,whichwouldleavelittleroom
forthelargelandscapes.TheDuchessesoldthe HotelMazarin-Lannes in 1825 and
moveddownthe streetto 73 ruede Varenne.Itis notinconceivable thatthe Gericaults
werealreadyinstalledin hernewresidence,theformerHotelde Broglie,butthe
description of the contentssoldin 1857 wouldseemto ruleoutthatpossibility. There
werenumeroustapestries,mirrors,paintedpanelsbyBoucher,andotherlarge
architectural elementsthatwouldhavecompetedwiththelandscapesforavailable
space.Butif thepaintingsdidnothaveframes,as indicatedbythe letter,theymay
havebeenrolledup outof view.Iftheywerebuiltintothewallpanelsof a salon,the
"dearcousin"she addressedwouldnothaveto be toldthattheywerenotframed.
Itis thuspossiblethatthe Duchessede Montebelloacquiredthe landscapes
andsoldthembeforeherdeath,butit is notlikelythatshe commissioned them.
Moreover, fortworeasonsit is notpossible,as Leebwouldhaveit, thatthe Duchesse
soldtwoof thelandscapesto the Comtede Saint-Leonaround1850. First,sinceNoon
andEveningcouldonlyhavebeenpurchasedbySaint-Leonaftertheirsalein 1903,
MorningandNtghtwouldbe thepaintingssoldin 1850. Butwe knowthatMorning
wasin thepossessionof BaronDesazardin 1848 andthatit wasincludedin the
Scheffersalein 1859, andthusit couldnothavebelongedto Saint-Leonatthistime.
Second,althoughLeebsaidthatthe envelopewasaddressedbytheDuchesseto the
Comtede Saint-Leon,thetitlewasnotin use untilthelastquarterof tilenineteenth
century:Arthur'sfatherusedthenameDufresne.
Itremainsto investigatecluesto the originsof thelandscapesin the artist's
firststudiesfordecorative panels.Thesedrawings(seenos. 1,2) wereprobablymade
in spring1816 atthe Chateaude Grand-Chesnay, the countryhouseadjacentto
Versaillesthatbelongedto Gericault's uncleCaruelde Saint-Martin, andhis aunt,
the artist'smistress.Castingaboutforanimportantprojectin themonthsbeforehe
leftforItaly,Gericaultcouldwellhavesoughtbothto flatterthe uncle,whohad
encouragedhis artstudiesas a youth,andto decoratethe houseof his lover.
Jean-Baptiste Caruel(1757-1847) boughtChesnayin 1802. Saidin thenineteenth
centuryto havebeenplannedbyMansartwithgardensbyLe Notre,it is, in fact,a
ratherordinaryhouse(filg.27) designedbyan anonyrnous builderduringthe late
eighteenthcentury.A three-storystructureonlyaboutthirty-sixfeetdeep,witha
mansardroofanddormers,it is flankedbywingsenclosingan ovalcourt.Chesnay
stillexistsbutin a completelyalteredstate.Afterthe deathof Gericault'snephewPaul
23
 .. N , , .. . ¢ , > {*-- > sv g

Caruelde Saint-Martin, in 1889, the housewassoldandcompletelyrebuilt.The

adewaspushedforwardten feet,andthe layoutof the roomschanged.A
courtfacs
detaileddescriptionof thepropertyin 1802 givesa goodindicationof the disposition
of thehouseas Gericaultwouldhaveknownit, butit is stilldiffilcult to determine
wherethethreeorfourpanelsof theTimesof Daycouldhavebeenplaced.No single
roomwouldhavebeenlargeenoughforthreeormorepanels althoughboththe
salonandthe diningroomcouldhaveheldtwo.
Theinventorymadeuponthe deathof the artist'sunclein 1847 reveals
thatthe Caruelshadsomeforty-fourpaintingsandfifty-oddframedengravingsat
Chesnay.(Nopicturesarelistedas havingbeenin theirParisapartments in the
so-calledHotelCambaceresat 23 ruede l'Universite, whichtheyacquiredin 1821.)
Gericault's worksarenotmentionedamongthem,butthe collectionincludeda pair
of landscapesbyValenciennes, twopaintingsbyRobertLefevre,anda painting
attributed to Boucher.(Theomissionof Gericaultis curious,sincewe knowfroma
letterwrittenbyClementin the mid-nineteenthcenturythatthe artist'saunt,who
liveduntil1875, keptwatercolors, oil sketches,andalbumsof drawingsbyhimin her
room.Undernormalcircumstances theywouldhavebeeninventoried,as were,for
example,the oldmastersshe broughtin herdowry.)Onelot,no. 141, is describedas
"fourpaintingsrepresenting thefourtimesof day 300 francs"(Bazinlg87a,p. 106). Figure 27
No artistis givenbutthevaluationis fairlyhigh.OneValenciennes wasappraisedat The main buildingat the
250 francs,the otherat 200. SinceGericault's Timesof Dayarenot signed,couldthey Chateaude Grand-Chesnay,
be thepictureslistedas lot 141? Probablynot,forthe one factknownaboutthe heroic the countlyhouse of Gericault's
landscapesis thatthe canvaseson whichGericaultpaintedthemweredeliveredin uncle Caruelde Saint-Martin.
JulyandAugust1818. Thethird,andlast,canvaswasdeliveredon August18, three
daysbeforeMmeCaruelde Saint-Martin gavebirthto Gericault'sbaby.Nothingis
knownof Gericault's relationswithhis auntafterthe birthof theirchild,butit is
virtuallyinconceivable thatthe artist'sunclewouldhavepermittedthe picturesto be
installedin his houseafterthe eventsof summer1818. CouldGericault,overcomeby

|; 11 as
f |
s *
So {.e * 4 w

F x ,@ 9 .

1We S <--FX
w ab

'lX. '#lif
|l''"@'ll's
va;:§tofl

24
 , ' _ , t

passion,havebeenso shortsighted as to haveembarkedheadlongon a project

destinedforChesnayjustas his auntwasdeliveringtheirson?Yes.He wasone of the
mostimpetuous,contradictoxy, self-destructive
yet brilliantartistsof alltime.Butdid
he needto havea destinationora particular recipientforthe seriesbeforehe painted
them?Notnecessarily. He couldhavesimplywishedto tryhis handatlandscape
painting,and,trueto form,he didso withgreat,overscaledambition.Perhapsat one
momenthe thoughthe mightexhibitthe set atthe Salon.
Where,then,didtheTimesof Daygo afterthe artistcompletedthethree,
andpossiblyfour,panels?Theyprobablyremainedin his studioin thefaubourgdu
Roule.Afterthatstudiowasdismantled,he probablystoredthemwithfriends just
ashe storedhisotherlargecanvases,suchas The ChargingChasseurandThe Wounded
Cuirassier sincetheyarenotlistedin the posthumous inventoryof his belongings.
TheTimesof Daymayhavebeentheworkssoldin his ateliersaleas lot no. 18,"four
sketchesof landscapes,"forthe smallsumof ninety-twofrancs.Inthe dimvisionof
theappraisers,almostall of Gericault's
works,no matterwhatthe sizeorlevel
of fWlnish,
weredescribedas studiesorsketches.Afterthe sale,thethreeknown
panelsweredispersedandmaynothavebeenreuniteduntiltheirappearance in the
presentexhibition.
Figure 28
: as

ThomasHope -D 4 b*04 ts was' AiAX * -E :-

(English,1?69-l83l)
DrawingRoomwith Oriental
Landscapes
Plate 6 fromHouseholdFurniture
\vo-v>*>K
< >< wK
ws Ta
and InterzorDecoration Executed
fromDeszgnsby ThomasHope
London:Longrnan,Hurst,Rees,
and Orme,180?
Hope'sdesign for a roomshows : . , e- .> _ , ' D= - .' , s. ' :
how sets of landscapescouldbe . .
t.
}

integratedinto a Neoclassical : '

!- f
. ' ';
t ,)
i
f

decor.
;

,
dh l-t:;l.
t
.
..
i \ t ^ -- 2 2st4 .
.
,_
. . _

2 \'(s*S

-
f- t

W-doj( ts \

\ _ ,
! ;, !, ; w+t_ ..

t
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"
S-,
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,

MXt - - < -
- cE.,<FaUS". + ¢ ' *1 /
fi1'1t ! .1 ! *
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25
 - -

TheFourthLandscape?

{/ov#tt t S bw-*

s - # lo

Arthistorianshavespeculatedon the existenceof a fourthlandscapeeversincethe Figures 29-32

threeknownpanelsreappeared in the 1950S.However,therewasno evidenceto Drawingsof Morning(no. 5), Noon
confirmthattherehadeverbeenan additionalpictureuntillastyear,whenNatLeeb (no. lo), Evening(no. 1l),
and the alleged fourthpicture
revealedthe drawingthathe hadreputedlymadeof it in 1937.Accordingto Leeb,he depictingNight, which Nat Leeb
madedrawingsin lieu of photographing all fourpanelsof theTimesof Day made reputedlyin 1937, shortly
(figs.29-32), justbeforehe boughtthemfromthe Comtede Saint-Leon. beforehe purchasedthe set.
Leeb'sdrawingshowsa compositionconsistentwiththe otherthreepictures
(nos.5,,lo, 1l). A heavyskyis brokenbythe lightof a fullmoon,whichrevealsa nude
manwashedup on a rockybeach,a victimof drowningmournedbya desolate
companion perhapsa woman.In the middledistancea woodenbridgeconnectsa
tower,possiblya Romanlighthouse,to a cliffsurmounted bya belvedereortemple.
Theseelementsarefreeinterpretations of structures
foundin an engravingbyPierre
Mettais(1728-1759),a pupilof Boucher,who,likeJosephVernet,laterin the
century,specializedin portscenes(fig.33);theyhavebeenadaptedandusedherein
preciselythe samewaythatGericaultincorporated similarborrowedmotifsin Noon
andEvening.
No drawingsin Gericault'soeuvrecorrespond exactlyto the composition
madebyLeeb,buttherearenonethelesssomelooselyrelatedworks.Thereis a
similarwoodenbridge,forexample,drawnon a sheetof studiesin Stockholm
(fWlg.
34),whichprobablydatesfromtheyearbeforetheTimesof Day.A closer
relationshipcanbe foundfortheposesof the fWlgures in Leeb'sdrawing,whichare
comparable to thoseof twofWlgures,the so-calledfatherandson,atthe leftin TheRaft
of the Medusa.The drownedmanin the drawingis shownin a poseanalogousto
thatof the deadyouthin TheRaft, albeitreversed,whilethemourningcompanion
assumesa poseroughlysimilarto thatof the olderman,orfather.Leeb'sdrawing
doesnotmakethe sexof the companionexplicit,althoughthereis somesuggestion
of a woman'sroundedhips.If the mourneris female,thenthe composition, withits
prominenttower,mayreferto themythof HeroandLeander.Musaeus,Ovid,and

26
 32

F (qWX <\ -' i t

a- WFo

-
i ( \ \ --4 --s

J - t o 8 -

+ f 7 S '0 i 's F s b l S
-
t--
b

s-
X -

Figure33
Louis Simon Lempereur
(French,1728-1807)
afterPierreJosephMettais
(French,1728-1759)
ThePasha'sPromenade,1766
Figure34
Sheetof Studzes(recto)
Ink on paper,71/8x gll/l6in.
(18x 24.7 cm)
Stockholm,Nationalmuseum,
NMH 285/1968

Engravingand etching, 153/4x

l8l/2in. (3g.gx46.gem)
The MetropolitanMuseumof Art,
HarrisBrisbaneDick Fund, 1946,
46.127.1(27)
27
VirgilrecountthatyoungLeanderfromAbydosswamthe Hellespontfortrystswith
his belovedHero,a priestessof Venus,whokepta torchburningatopa hightower
to guidehim.Onenight,justbeforereachingthe shore,he failed.HorriEled, Hero
watchedfromthe toweras Leander'sbodysmashedagainsttherocks.In some
accounts,Herohurlsherselffromthetoweranddies;in others,sheracesto the beach
to retrieveLeander'scorpsefromthewaves.Herois usuallyshowndressedwhenshe
reachesherdrownedloveron the beach,as in Taillasson'spaintingof 1798(lg. 35),
butin the Leebdrawingthe mourningfigureis nude.However,sinceno specific
mythologicalorliterarynarrativehasbeenidentifiled in Morning,Noon,andEvening,
thereis no reasonto expectto finda particularsourceforNzght.The settingand
figuresreferonlyto a timeless,generic,Mediterranean antiquity.
A paintedstudyof a recumbentnudein AlenScon (fig.36)offerstheElgure that
is mostsimilarto thatof the drownedmanin Leeb'sdrawingof Nzght.Strengthening
theresemblancebetweentheworks,the studywasfinishedwitha seascapeandrocks
to suggesta shipwreckscene.TheAlenscon paintinghasbeencal]eda studyforthe
deadyouthatthe leftof TheRaft,the son,butit morecloselycorresponds to a filgurein
one of Gericault'searlierstudiestorTheRaft,TheSzghtingof theArgus,as shown
in a drawingat Lille.The attributionof theAlenscon paintingto Gericault,wholly
endorsedbyEitner,hasbeenrejectedbyGrunchec(1978, no. A202; see alsoEitner
1980, p. 209). The executionis atypically
{laccid,andif it is byGericault,it would
constitutethe solesurvivingstudyin oil foran entirefilgurein TheRaft.Evenif it is
notbyGericault,it maybe a reflection,perhapspaintedbyone of the artist'sstudents,
of thefilgurein Nzght.However,sincethe existenceof Nzghtis conjectural, anyrelation

_ZL i_ai Figure3s

(French,174$-l809)

Oil on canvas,995/8 X 125l/+in.

a 1! 11 1 (253x318cm)
Blaye,Musee des Beaux-Arts

28
Figure36
Attributedto Gericault(?)
ShiptreckedMan (.))
Oil on canvas,25s/2 x 317/8in.
(64.8x81.lem)
Alencon,Musee de Peinture,
Inv.87
to otherworksin oroutof Gericault'soeuvrecanonlybe speculative.
Fearingpersecutionduringthe Occupation, LeebquitParisandwentinto
hidingin LyonsandMarseilles.Whenhe returnedto the capitalafterthewar,Leeb
saidthathe foundone of thefourpanelsof theTimesof Day,Night, e xtensivelydam-
agedbya leakin thewarehousein whichit waskept.Restoration involveda virtually
completerepainting.Becauseso littleof the originalpictureremained,he couldnot
selltheworkalongwiththethreein goodcondition.LeebstatedthatLadislasBein,a
Parisianpicturedealer,boughtNzghtandsoldit to an individualin RiodeJaneiro,
whereasanotherdealer,AlexandreUjlaky,purchasedthethreeothers.
it is impossibleto confirmLeeb'saccountandcertaindetails
Unfortunately,
aresuspect.His drawingsof thethreeknownpaintingswereprobablytracedfrom
photographs orreproductions andarethusmoreaccomplished thanthe awkward
renditionof Nzght,forwhichthereis no photograph yet Leebmain-tained thatall

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

29
 *Parents
,;t,b,\
6 --X lt(
< ---
8 3u. Mouming
t the
+ Inf< particular
_ _September
t mourningthesenselessdeathof
^ R le
over to
1820
L.a timeless
Gericault
TheirDead
Winthrop, gran-
left

_ - :, Figure38

_ - _ - =4t
4wt- i''' Ink,watercolor,and graphiteon
_ 7 _ paper,6l/2x 47/8in.

'+ S a (I6'5bridg4e Massachusetts

!X t-7 w Parisfor a few weeks'vacationin

, \, z / 5 , Fericy,on the Seine near Fon-
- . s S7-><s ,, tainbleau.There he was moved
X2_! , 4 j 2 / by a newspaperaccountof a
z.} it sb 7 ;7E-/XX > Parisianmasonwho fell to his
,/ 2 N %]K/i// 3 // deathfromscaffoldlngon the rue
/ %\^ /,,477 _ deRivoli.Inresponse,hemade
r m .F > this movingdrawingof parents

kd!tv
{ w;T7>' -, --- theirson,raisingthescenefrom
_ - deurwith his classicalstyle.

fourdrawingsweremadein 1937in lieu of photographs. Itis truethatLeebcould

haveredrawnhis copies,usingreproductions of the threeknownpanelsas guidesto
improvethem,beforegivingthemlastyearto the Metropolitan. However,it is hard
to believethat,if it didexist,no photographof Nightwasmadeatthe timeof purchase,
restoration,orsale.In an interviewlastyear,Leebremembered thatin 1937,through
thegoodofficesof a womanhe thoughtwasMmeBoules,wifeof the "director" of the
Arnerican embassyin Paris,the set of fourpanelswasofferedforpurchaseto the
directorof the Louvre,HenryVerne.Vernereputedlyrefusedthembecausetheywere
no morethan"decoration." Quiteexceptionally,thereis no recordof suchan offerfor
purchaseatthe Louvre whereas,forexample,thereis ampledocumentation of
BaronDesazard'sproposalto sellMorningto the Louvrein 1848.Furthermore, it
appearsthatno onenamedBoulesworkedattheAmericanembassyin theyears
precedingthe Germanoccupationof France.Leebwasprobablyconfusingthe name
BouleswithBullitt,sinceWilliamC. BullittwasthehighlyvisibleAmericanambassa-
dorin Parisatthetime.However,Bullittwasnotmarriedwhilehe servedin Paris.
OnecannotconfirmLeeb'sstatementthatNightwasexportedto Brazil.
LadislasBein,to whomLeeballegedlysoldtheworkin 1949,wasnotincludedin any
of the businessdirectories forthatyear.His officeat 8 rueDrouotis fXlrstlistedin 1950,
buthe didnothavea telephone,a peculiarcircumstance foran artdealerwhocould
affordto buya largeGericault,ruinedornot.His firmhadno successors,andhis
businesspapers,if he hadany,cannotbe found.AlexandreUjlaky,on the contrazy,
waslistedbothyearsat4 rueDrouot,andhe didhavea telephone.PhilippeBrame,
theParisianartdealer,whoin 1952purchasedNoonandEvening,thetwopaintings

3o
TheodoreChasseriau
Sh ip wrecked -> - 1Ff'
9 : |' +<e-
= **s- ' '8 v_
s ---

reputedlyhandledbyUjlaky,boughtthemfromyet anotherintermediary whose

namewasnotrecorded.He doesnotrecognizeUjlaky'sname.ThepresentComte
de Saint-Leon,thegrandsonof the collector,wasthirteenyearsoldin 1937anda
frequentvisitorto Jeurre.He doubtsLeeb'sstory,buthe didconf1rm detailsof it.
He hasno specificrecollectionof the Gericaults yethe doesrememberpictures
installedin the ceilingof the SalonRose.Whenhe wastoldLeeb'saccountof his
grandfather's financialdifficulties,he recognizedthatLeebmusthaveknown
his grandfather velywell.
Leebsaidlastyearthattherewasno one else alivewhowouldhaveseenthe
fourth,missing,landscape.Regrettably, Leebdiedthisyearwiththe enigmaunex-
plainedandwithbothersomequestionsremaining.Leebhadbeenin contactwith
everyimportantmodernscholarof Gericault's work-among themPierreDubaut,
theconnoisseur, collector,anddealer,LorenzEitner,the greatestEnglish-speaking
authority,andPhilippeGrunchec,theFrenchauthorof severalimportantstudies in
an attemptto authenticate a paintedcopyhe ownedof Gericault'slithographThe
Coal Wagon,whichLeebcalledTheArtilleryTrain.Why,then,didhe notreveal
the existenceof thefourthlandscapeandthe drawinghe hadmadeof it untillastyear,
fortyyearsafterhe reputedlysoldNight?Leebhadnothingto gainfrominventingthe
existenceof Night, andsomethingto loseif he wereexposedas a fabricator. Could
Leebhavebeencleverenoughto inventthe fourthcompositionso persuasively? Is it
creditinghimwithtoomuchskillto believethathe recognizedtheprocessthrough
whichGericaultborrowedmotifsfromVernetandConstantBourgeoisin thethree
knownlandscapesandthenconvincingly duplicatedthisprocedurewhenhe bor-
rowedfrom Mettais,a vetyobscureartist,to createhis renditionof IVight?No,
Figure39 _A4 gttj'-,s,>

Graphite onpaper,7ll/l6 x 43/4 in. .-

(19.5x 12 cm) . . _ .. . ..
Paris,MuseeduLouvre, --
RF 26.o80

31
 :wS

he obviouslyknew the Gericaultliteratureverywell, in additionto the literatureon Figure40

Theodore Chasseriau(1819-18$6), a Romanticpainterwho combined elements of Barkin a StormyLandscape
Leeb copied the figuresin (Noon)
Ingres'sstEyle with Delacroix'simageny.In all probabilitEy, Gouacheandwatercoloron paper,
his Nightfrom a sketchin the Louvre (see fig. 39) that reproducesa compositionof a 41/8 X 57/8 in. (lo. x 14.9 cm)
paintingby Chasseriau,Shipwrecked, of about 1835. (This painting,long lost, has Bayonne,Musee Bonnat,
only recentlyreappearedin a Paris privatecollection.)The relationshipof the Inv.713R
Chasseriaudrawingto Leeb's is too close not to be incriminating.VVhileit is possible
that Chasseriau,who borrowedotherposes from Gericault,may have based his
compositionon Gericault'sfourthlandscape,it is far more likely that Nzghtwas not
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,
two previouslyunpublisheddrawingsin Bayonne (fWlgs. 4o, 41) indicate that Gericault
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
Figure41
PortScene(Night)
Gouacheandwatercoloron paper,
42/sxs7/sin. (10.5X14.gem)
Bayonne,Musee Bonnat,
Inv.713V
fWlshermen'sbarkandthetreesof therectoresemblethosein Morning[no.5] andthere
is a thunderstorm as in Noon[no.lo], bothdrawingsaremoreconventional
and
dependentuponVernet'slandscapesthanthe compositions of thefWlnal
paintings.See
introduction, fWlgs.
18-21.)
Onethingseemslikely:if GericaulthadpaintedNtght,he probablywould
havefollowedthe eighteenth-century conventionsof landscapein cornpletingthe
serieswiththe depictionof a shipwreckordrowning.DiderotconsideredVernet's
shipwrecks crucialto his sequencesof landscapes,lendingresolutionandmoral
authorityin additionto drama.Thethemewasso wellestablished,as Lochheadhas
shown(1982,p. 85),thatwhen,in 1781,thepainterde Loutherbourg builtin London
hisEidophusikon, a precursor to the diorama,theprogramalwaysincludeda storm
andshipwreckas the conclusionto theTimesof Day.The sightof the aftermathof a
shipwreck inspireda fearof nature'sunfathomable power,the horrifWlc
blacklining
to nature'ssilveryclouds.Disastersceneswerethewell-markedpathto the sublime,
thatreservoirof deepfeelingbeyondtherealmof the superfWlcially beautiful.Soon
afterthethreecanvasesof theTimesof Dayweredeliveredto his studio,Gericault
becameconsumedwithworkon a greateressayon the sublime,The/taftof the
Medusa so muchso perhapsthathe neverundertookthepaintingo-fthe fourthTime
of Day.Althoughin the absenceof the fourthpictureourexperienceof the seriesin
thepresentexhibitionwillnecessarilybe incomplete,we canturnforresolutionto
Gericault'sTheDeluge(no.13),hiswatercolorof TheRaftof theMedusa(no.14),and
hisDrownedWomanandChildon a Beach(no.15,)to contemplate thebeautiful,
andtrulysublime,specterof deaththathauntstheselandscapes.
33
 1.

STUDIES
FORDECORATIVE
PANELS
1816?
Graphiteand wash (recto);graphite
(verso);on paper;65Ax9 /, 6 in. (17.2 X 2 3 cm)
The ArtInstituteof Chicago,Gift of
Tiffanyand MargaretBlake, 1947.35
folio 43

GermainBazinrecentlyidentifXled the building

justabovethe bird'sbeak at the far left of the
verso drawingas the Chateaude Grand-
Chesnay,the countryhouse of Gericault's
maternaluncle, Jean-BaptisteCaruel (1757-
1847),latercalled Caruelde Saint-Martin.
Caruel'ssecond wife, Alexandrine-Modeste
de Saint-Martin(1785-1875), was twenty-
eightyears youngerthan her husbandand six
years olderthan Gericault.She broughtcon-
siderablewealth, 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 Grand-
Recto
Chesnayand neighboringVersailles.Since
otherpages show newbornkids, it would
seem that the sketchbookwas used at Grand- Deshayswere perhapsdone concurrently.)On
Chesnayin the late springor summer,but it anothersheet in the album are strangely
is not knownin which year.The Caruels artlessdrawingsof fowl relatingto severaloil
stayedat Grand-Chesnayfrequentlyafter sketchesof barnyardanimalsthat seem to
1813,when the artist'suncle became mayor have been made at aboutthe same time.
of the village. Gericault,a memberof the On the recto is a landscapewith
king'smusketeersfrom 1814to 1816,was large trees in the foregroundcomposedin a
garrisonednearbyat Versaillesin spring1815. mannerthat conformspreciselyto the defini-
The followingspring,he preparedfor the tion of the picturesqueas formulatedby the
Prix de Rome competitionin Paris,but he eighteenth-centuryEnglish writerWilliam
could easily have escapedto Grand-Chesnay Gilpin a compositionrepeatedon folio 58.
at a moment'snotice.As will be demonstrated, Gericaultdid not go on to paint any pictures
there is good reasonto believe that this using the homely picketgate, but seems
portionof the sketchbookwas used in spring insteadto have developedhis ideas in terms
816. of tall and narrowdecorativepanels of the
On both sides of this sheet Gericault kind thatwere often fittedinto the boiserie
sketchedideas for compositionsin the grand of French eighteenth-centuryrooms. On the
mannerthat included game or exotic fowl. verso Gericaulteliminatedanimalsfrom
Somewhatamateurishly,he evokespaintings the verticalcompositionsand focused on
by Oudry,Desportes,Hondecouter,and the assemblagesof landscapemotifs in an
seventeenth-centuryDutch game painters, Italianatestyle.Additionalsketchesfor these
but withoutreferringto a knownwork. (His narrowpanels appearon folio 42 recto of the
copies of similarpaintingsby Pieter Boel and same sketchbookand on a separatesheet

34
 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 elimi-
natedbeforethe 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'sdepartureforItaly.Gericault'sdrawings
of decorativelandscapesin fig. Xb were made
e i <- overthe sketchof Paris, and thus cannotdate
beforeMarch 1816.LorenzEitnerdatedthe
sketchbookand relateddrawingsto about
;_ X, S -r x
1814,but ChristopherSells, withoutreferring
to the landscapedrawings,has recentlysug-
.
v

gested that this portionof the Chicagoalbum

Verso
*

datesto 1817-18. The laterdate would place

that includesfourteensketchesof panels,
half of which seem to be for smallerpanels or
for overdoorpaintings(Elg.Xa). As Gericault
workedon an idea, he typicallydrewsmall
boxes on his page and Sllledthem with alter-
nativecompositions: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 DecorativePanels
Graphiteon paper,8 i16 X 10 16 in.
(21.1 X 26.8 cm)
Bayonne,Musee Bonnat,
Inv.802 V
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. Further-
more, while it seems likely thatthe drawings
were done at the Chateaude Grand-Chesnay,
it is improbablethat 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 enter-
prisewhich 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
 / J J

may well have been intendedto adornthat

house. One can furtherspeculatethat
Gericault'slarge 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 out-
stretchedarm, firstused in the Bayonne - s

drawings(figs. la, lb), reappearsin the fore- s ---ifl

groundof Evening:Landscapewith an -, -s

Agueduct(no. 1l). Gericaultmade a highly Figure lb

finisheddrawingfrom a live model in this StudiesforDecorativePanels
pose (fig. 1C). Dated by most scholarsto 1816, Graphiteand wash on paper,
its relationshipto the decorativelandscape 83/8x 11S,6in. (21.3x 28.4 cm)
Bayonne,Musee Bonnat,
studies or to the Times of Day has not pre- Inv-745 v
viouslybeen noticed.

Figure 1C
SeatedNude(verso)
Chalk,ink, and wash on paper.
85Z,6
x 75/.6in. (20.8 x 18.3cm)
London,The BritishMuseum,
1920.2.16.2

36
 4 < '24 \. -

STUDIES
FOR WITH
ACOMPOSITION A
BOATING
PARTYANDFORVARIOUS
MILITARY
SUBJECTS
1816or 1817-18
Graphite(recto);brownink, wash, and
graphite(verso);on paper;6?/8x gl/l6in.
(174 x 23 cm)
The ArtInstituteof Chicago,Gift of
Tiffanyand MargaretBlake, 1947.35
folio 48
Verso

Recto <a':T
\ 6
w
; bA
: h

's-

, ,5 <>.,+_,j, -!,>; e" ; :G0@:

J!
2< - k ;t

,'Jfi < ), -;n ' K s.

*
-. 8
sM,

# t', s

*\, ' ' ;E i t _s

* e , >

< \ f f_X, ,_', '

;<s t--4 J
-w > t os ' ' V ,b,4. X.s
_. '' ' A _ '

'

__,. 's s C 'ss 1v'

-w

On the versoof this sheet the artistmade panions.The two wash landscapesketches
what seem to be the firstsketchesfor a on folio 48 versomay be the artist'sideas for
compositionwith a musicalboatingparty. the sylvansettingwhereinhe would place the
Looselybased on a paintingin the Louvre boatingparty.
attributedin Gericault'sdayto Annibale In 1954,when Eitnerpublishedthe
Carracci(fig. 2a), the drawingshowswomen firstscholarlyarticleon the landscapesnow
serenadedby a lutenistin Renaissancecos- in Parisand New York,he recognizedthat
tume. Their gondolais propelledby a pole- the germof the Parispicture,Noon:Landscape
wieldingboatman,whose energeticpose witha RomanTomb(no. 10),may reside in
characteristicallypreoccupiedthe artist.Over these sketchesof the boatingparty.In a
a dozenalternativesforthis figurewere drawn fascinatingtwist,Gericaultkept the boat in
on two sheets now in the Musee Bonnat, Noonbut canceledthe party.The festivemood
Bayonne(inv.nos. 2085, 2086); some of of the troubadourcostumepiece becomes
those sketchesmay also relateto a similar forebodingin the painting,and the serenaded
figurein a watercolor,Bark in a Stormy woman is accompaniedby a child as well as a
Landscape,also in the Musee Bonnat(see man, who seeks pressinglyto boardthe boat
p. 32). The same boatingpartyas that seen as if to be ferriedacrossthe river.A sense of
here is more clearlydrawnon the versoof urgencyreplacesthe timeless idyll of the
folio 49 of the Chicagoalbum (fig. 2b),where drawing.
one woman is accompaniedby two com-

37
 What has not been sufficiently
stressedin the pastis the familialresemblance
of the paintingformerlyattributedto Annibale
Carracci itself harkingback to the Venetian
traditionexemplifiedby Giorgione'sFete
champetre(Paris,Musee du Louvre) to
Gericault'sset of large landscapes.Noon, in
particular,displaysa similarRomanbridge
leading to a castellatedtower,and the river
and distantmountainsare disposedin an and the cavalrybattleto 18 17- 18. However, Figure 2a
analogousmanner,albeit reversed.In his it seems likelythat Gericaultworkedon his GiovanniBattistaViola
(Italian,1576-1662)
largc)landscapesGericaultobviouslywished first,unrealizedprojectof decorativeland- ontheWater
Concert
to recallthe traditionof the composedland- scapes in spring1816(see no. 1).If this Oil on canvas,15i, x 20l/2in.
scape in the grand mannerto which Annibale suppositionis correct,then the sketchesfor (40 x 52 cm)
had made such a significantcontributionand the boatingpartyon the versomay date to Pans, Musee du Louvre,
which his brotherAgostinohad popularized thatyear;otherwise,they would have been Inv.208
throughengravings.But Gericault,appro- made upon Gericault'sreturnfromItaly.
priatingpast artwithoutapology,made his
worksmodernwith a dramaticshift in mood
and scale.
The recto of this sheet presentsa - A

kind of catalogueof Gericault'songoing

z
s

S-J'Z'stQ A
projects,forwhich there are many sketches 1
ct''t
6' -
%\ \^ .
'

amongthe pages of this sectionof the Chicago \

'S z

album.They have been identifiedby Eitner x, Wr

as, fromthe top left:an equestrianlSlgure for
one of the paintingsof the trumpeterof the
Polish lancers;a Mamlukrider;Napoleon on
horseback;a cavalrybattle;and Xerxesat-
tackedby 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 Figure 2b
Sheet of Studies(verso)
on the recto, such as that for the trumpeterof Graphiteand pen on paper,
the Polishlancers,maydateto afterGericault's 67/sxg^/,6in. (17.4X23 cm)
returnfromItalyin late 1817.Christopher The ArtInstituteof Chicago,
Sells dates this portionof the Chicago album, GiftofTiffanyandMargaretBlake,
the projectedcompositionsof Polish lancers, 1947.35folio 49

38
 3
VIEWOFTIVOLI
1816-17
Watercolor,brownink, and graphiteon
paper,8lM6X l63/sin.(22.4X41.5 cm);signed
and inscnbedlowerleft: Gericaultpinx./
Tivoli
Geneva,GalerieJan Krugier
Likegenerations of Frenchartistsbefore
him,Gericaultrecognizedthatanextended
stayin Italywascrucialtohisformation as an
artist.Tobe seen,copied,andunderstood
werethemonumentsof antiquity, thegreat
frescoesandaltarpieces of theRenaissance,
andthesplendidBaroquedecorations of
churchesandpalaces.Muchof importance
he alreadyknewfromreproductions, buthe
lackedfirsthand experienceof theseworks.
Inspring1816,attheageof twenty-four, he
competedattheEcoledesBeaux-Arts forthe
Prixde Rome,a five-yearstayattheFrench
Academyin Romewitha freestudio,classes,
models,anda livingallowance.He madeit
throughthefirstroundbutlostin thesecond.
Undeterred, he securedfromhisfatherper-
mission to go to Italy,andwitha family
annuityin hand,he leftin September1816,
ostensiblyfora two-yeartrip whichhe cut
shortbya year.He wasprofoundly impressed
by the experience.Accordingto Clement,
the artist'sbiographer,"Llehad trembled
beforethe mastersof Italy,had lost all self-
confidence,and only slowlyrecoveredfrom
his agitation"(quotedin Eitner 1983,p. Ioo).
AlthoughGericaulttraveledexten-
sivelyin Italy,he seems not to have been
seducedby the country'sfabled landscape.
Unlike his illustriousFrench predecessors,
Claudeand Poussin, he was not intriguedby
the picturesqueruins,which, with the excep-
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 fo-
cused 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 Gericaultpinx.,
4o
he positionedhimselfatthebelvedereonthe
viadelleCascatelle,theroadthatwindsout
of thecityawayfromRome,in orderto ob-
tainthebestviewof boththe GrandCascades
andthe Cascatelli;butin a characteristic
departure, Gericaultmadethe spectacular
waterfalls,barelyvisiblein thedarkchasmat
left,almostincidentalto thepicture.Refus-
ingto highlightorsubordinate particular
elements,he insteaddelineatedthe entire
scenebeforehimwitha meticulousness that
borderson obsession.Moststrikingis his
renunciation of naturalism: thereis no at-
temptto suggestatmosphere, thetimeof day,
ortheparticularityofhis experienceatthat
moment.Gericault's imageis so timelessthat
onewouldnotbe surprised to learnthatit
hadbeencopiedfroman engraving suchas
oneof GaspardDughet'snumerousviewsof
Tivoli.Evenoutin nature,Gericaultsifted
his observationsthroughthefilterof pastart
in orderto achievea grandmanner.
 4*
VIEWOFMONTMARTRE
1816-20?
Watercolor,gouache, and graphiteon
paper,73/8x l 03/8in. (l 8.7 x 26.4cm);verso:
LapithandAmazon
Geneva,GalerieJan Krugier

.,t.'r; jF*,.s
..*
''

Throughouthis career,Gericaultconsistently daylightalmostconcealsratherthanreveals

soughtto extractthe maximumexpressive
potentialof any given motif. Here, he took
the skylineof Montmartre,with its windmill
made familiarby the paintingsof Georges
Michel, and, by stronglycontrastingshadow
to sky,renderedit mysteriousand somewhat
ominous.In preparation,he made a straight-
forwarddrawing,which he lightlycolored
(fig. 4a). But in the presentwatercolor,the
effects are intensifiedand the oppositeof
what the viewerexpects:the clouds appearto
be blue and the skywhite, and the sharp
thevillagebelow.Thereis nevertheless a
givento alltheforms
vigoroussubstantiality
a landscapeequivalentto hisMichelangel-
Although
esquefiguralstyle. Gericault himself
didnotextensivelydevelopthisantipicturesque
style,summedupin hislargelandscapesof
1818,thedramatictonalcontrasts he used
herewouldbe exploitedin thenextdecade
byGranet,theRomanticlandscapepainter,
andin thenextgenerationbyVictorHugo,
forhisremarkable inkdrawings.

41
 --- z

Figure4a
- Viewof Montmartre(detail)
- = Graphite,wash, and gouacheon
- ss
s S
-

- paper,87/,6xlo/2in. (2l.sx 26.7cm)

Paris,Ecole des Beaux-Arts,
Inv.E.B.A.,no. 973
Gericaultfrequentlyplaced
unrelatedsketcheson the same
page. Althoughlions are usually
associatedwith the artist'sstayin
London,he in fact drewthem
throughouthis career.

qbl

l
81IJ
ls0#t

In 1813Gericaultand his father and an Amazon,cannotbe securelydated

movedto 23 rue des Martyrsin 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
Montmartreexecutedfor the artist'spleasure.
Unfortunately,the drawingon the verso,a
copy of an engravingin lVlontfaucon's L'Anti-
quiteexpliqueeet representeeenJ;gures(1719)
of a relief depictinga battlebetween a Lapith
either.The style and subjectof the verso,
drawnbeforethe landscape,suggest a date
no laterthan 1815-16. Eitner dates the land-
scape 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,
lVluseeBonnat,inv.nos. 800, 801, and Paris,
privatecollection).

42
 -
MORNING: WITH
LANDSCAPE
FISHERMEN
1818
Oil on canvas,985/8x 8534in.
(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
foregroundand establishthe gargantuanscale
of the series of the Times of Day.
DuringJuly and August 1818,at
intervalsof two to three weeks, Gericault's
colormerchantand supplierdeliveredthree
canvasesof identicalsize, approximatelyeight
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 pre-
paratorydrawingsand was carefullyexecuted
with comparativelyfew pentimenti.Noon and
Evening,to the contraxy,seem to have been
paintedmore spontaneously,with numerous
revisionsand some improvisations.Yetfor all
of the preparation,Morningis, in one respect,
the most originalof the worksin the suite:
although,like the others,it immediatelyan-
nouncesits affinityto the decorativelandscape
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
a motif was common currency.In his 18l7
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
embroideringuponthem"(1817,pp. 115- 116).
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.
44
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
of the composition(insteadof the foreground),
some modernscholarshave suggestedthat
he had not actuallyseen the painting.How-
ever,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 re-
countedthat 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 infor-
mationby someone who had actuallybeen
there,such as Gericault'sstudentA. A. Mont-
fort.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
greatdisappointment,he did not leave a
single clue regardingthe circumstancesthat
led Gericaultto make the set.
This paintingwas the last of the
series to be rediscoveredin this century.It
reappearedat a Parisauctionin 1959,while
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.
It was probablyvisiblefor only two or three
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."
_(no.
>
c_s_
-_<
^t and
Figure
<+ _being
of
out
: he
5):
- v this
modified
sketches,
remained
zh, there
pulled
the watercolor.
whilebasic
are
the
'to
reducing
now
true
RFthe
no
profile
lost,
1 to
*f right.
Its
trees
composition.
it7a
1670 the
slightly
inself-assured
ofwhich
Nevertheless,
in
overall
V theEhe
inthe
fantastic
size.
foreground,
artist
appearance
execution,
Nevertheless,
allworked
rock,
the

6e
LANDSCAPE
STUDYFORMORNING:
WITHFISHERMEN
1818
Watercolor,brownink, graphite,and
blackchalkonwhitelaidpaper,9X/8X8X/8
in.
(23.2 X 20.7 cm)
Cambridge,Massachusetts,The Fogg
ArtMuseum,HarvardUniversilOr, Bequest
of Meta and Paul J. Sachs

ThisstudyforMorning:Landscapewith
Fishermen,oneof Gericault's mostbeautiful
landscape watercolors,is allthemoreimpres-
siveforrepresenting animaginary scene.
UnlikeViewof Tivoli(no.3),whichis a
kindof miniaturelinearsurveyof thearchi-
tectureof thehilltoptown,thisworkis
majesticallycomposed of largeplanesreceding
in a convincingprogression to thefarther-
mostrangeof mountainsonthehorizon.
> Workingwithgreateconomy,Gericault
b neededonlytwocolorsofwash-blue and
- brown-to renderthelandscapeandsuffuse
= it witha unifyinglight.
Thissheetrepresents anearlystage
of thecomposition fortheMunichpicture

_ andtheboat,whichhasa mastandsail,is

_ i a featuresof thepainting-savethepineand
| palm arepresentherein embryonic form.
=_ Inpaintingthelargecanvas,Gericaulten-
largedthecypresses elements
andarchitectural

; ^ withno revisionswhatsoever, an
iS probably
- - ir y-> .- indicationthatit wasprecededbyearlier

. ., =

= ._,1_ W v _l i

- /.D>f;C / / Sheetof Studies(verso)

> /,4, < (R: - ' Ink and wash on paper.

45
in
later
his
sheets
figures
Bayonne
stay
ofof pushing,
the
instudies
Italy,
(fig.
two shown
for
pulling,
7b). the
The here,
Itfivewould
Race andrestraining
since
of fishermen
the the
appear
group
Riderlessin that_<ffi,,, ,^
t < 7rVa

7 8.
STUDIES
OFFISHERMEN STUDIES
OFFISHERMEN
1818 1818
Browninkonpaper,131/.6
x 77/8 in. Browninkonpaper,51i.6 X 77/8 in.
(33-2 X 20 cm) (14.8
X20 cm)
Privatecollection Privatecollection

Apartfromhorses,littlefascinatedGericault
morethanthehumanfigurestrainingagainst >_
a load.Thetwomostambitiousprojectsof _ JE

HorsesandThe CattleMarket,arebasedon g ,> * &

animals;to prepareforthem,he executed YW > , > <

severalstudiesof nudemodelspullingropes. . < 8
Drawnafterhisreturnto Paris,thesetwo ' q>,,

Morntng (no.5) werenotmadefromlive 11 A 6 @

modelsbutfromthearost'slmagmatlon, ,YE_< wk t
whichbythenwaswellstockedwithan Ll 9 ] \ S t
inf1nite
numberof posesobservedunder }ttJ f28'<
a varietyof condltions. \2 . > \ [
Thesesketchesweremadeafterthe t<s t \ 99
Foggwatercolor (no.6), in which'thefisher- X. t
menlaunchtheboatto theright,butprob- \ >
ablybeforetheDijondrawing(no.9).The &
Herculeanfiguresalsopullto therightin a
sketchontheversoof a drawingin the
Louvre(fig.7a).Gericaultdrewthefisher-
menpullingin bothdirectionsin a drawing ,,

thesheetwiththeboatatupperrightwasthe XL3 (5Bi

in theupperregisteris closestto thatin the i> t, t

finalpainting.InthesesketchesGericault ,>\39 q
wascarefulto establish1inksbetweenthe qX o
figuresin thegroup,byturningtheheadsto ,
theleftorright,so thattheyappeartowork
in concert. a

'

46
 - - f D - - _peated
p properly
be onethe
ofidentified
the
composition
very first
as abut
study
sketches
gave
forthe
for
the mountain
Evening
large

9-
LANDSCAPE
FORMORNING:
STUDIES
ANDEVENING:
FISHERMEN
WITH
ANAQUEDUCT
WITH
LANDSCAPE
1818
BrowninkandgraphiteonpaperS
71/8X51/8 X13cm)
in. (18
Museedes Beaux-Artsde Dijon,Donation
GranvilleDG 242

e t
r _ * Althoughexhibitedandwidelyreproduced
in
sincethefirstgreatGericaultretrospective
'
= 1924,thisdrawing,likethewatercolorin the
t - Fogg(no.6),hadtowaitforthereappearance
q ofMoming(no.5,)in 195,9beforeit couldbe
e

i AttheupperleftGericaulttested
landscape.
. :-. sS;4
-- t wk t
theadditionoftheforeground treesto the
-

*
-f f- f ew

-- s o: t./{'1 r : I compositionalreadylaidoutin theFogg

.,z,..,_
twS-:- l t r
4 i I

_bg I Atthebottomof thesheethe re-

watercolor.
s L-
rr

thenewprofilethatappearsin thepainting.
F Apartfromthepositionoftheboat,whichis
stillcloseto thecenteroftheforeground, the
paintingconformsin everyimportant respect
C; tothisdrawing.
\ Thesketchattheupperrighthas
sj 4 alwaysbeenconsidereda variantofthesame
\41 composition, quitedifferent.
butit is obviously
\3 Withits centralmountainandbroadriver,
' >> flowingfromthedistanceattheleft,it must

p = (no.1l). Hadthebillforthedeliveryofthree
l r ofthelargecanvasesto theartist'sstudioin
jab Y, 1818notbeendiscovered, thissheetalone
4F^ffi/LS wouldbesufficientproofthatGericault simul-
taneouslyconceivedthelargecanvases or,
< - attheveryleast,twoofthem,Momingand
Evening answering a questionthathasbeen
debatedbyscholarsforoverthirtyyears.

Figure 7b
Sheetof Studies(verso)
Graphiteon paper,81/8x 85/16in.
(20.6X21.1 cm)
Bayonne,Musee Bonnat,
Inv.766

47
 10.

NOON:LANDSCAPE WITH AROMAN

rr
10MB
1818
Oiloncanvas,981/2
X86XA
in. cm)
(250 X 219
Paris,Musee du Petit Palais

48
 A middaythunderstorm gathersin a deep-
bluesky.Thepeaksof thefarthermost moun-
tainrangearealreadycoveredwithsnow,
andsheetsof rainfallin themiddledistance.
A strongwindblowsthecypressesalongthe
riverbank. A man,woman,andchild,seek-
ingto escapethetempest,implorea pairof
/ {vArgSo{ , {/g0 {{//l/ /e )/yg/ la/// ,gb /g///zzzz
/ f/X # {/l {S}/yg t/gS {l ,X /g//b}/t filshermen in a smallbarkto carrythemto
safety;thebridgetheymighthavetakenis
brokenandimpassable. Loomingbehind
themis anancientRomantomb,andin its
shadowtwoseveredlimbshangfroma pole.
Itis thusnotsimplya stormthatfrightensthe
family,it is thespecterof death.
Trueto theestablishedconventions
of landscapepainting,Gericaultanimated
his depictionof Noonwitha thunderstorm.
Morningandafternoon hadalwaysbeenthe
timesof dayfavoredbylandscapepainters
becausetheshadowsresultingfromtheslant-
inglightwerenecessaryfortheillusionof
depth.Thestronglightof middaycreated
problemspictorially. AsDiderotnoticed,ob-
jectsatnoonarevirtually"inundated with
light"(Salons,III, p. 272) and thereforeflatin
appearance. Valenciennes, theNeoclassical
landscapepainterandtheorist,codifiedac-
ceptedpracticewhenhe wrotein an artist's
manualof 1799 that"noonis themostconve-
nienthourto representtheterriblespectacle
/z., ,.Xtz /,-)/vaSzS,zz ,/ 4,>, z/,r . //,*4,>XCr
of a stormorhurricane" (p.435).
/'/'t'''g' /i'()/zZ,* JosephVernetwasknownandpraised
forhis depictionsof ragingstormsathigh
Figuresloa, lob
noon,andit is no coincidencethatGericault
FlorentFideleConstantBourgeois tookVernet'scelebrated landscapecyclesas
(French,1?6?-l84l) hismodelfortheTimesof Day.Gericault
Viewofthe TombofPlautius,and wasfamiliarwiththegreatVernetsin the
Viewof theTombof CeciliaMetella, Louvreandwouldhaveseen,if he didnot
fromRecueildevuesetfabriques
d'Italie,1804
pittoresques
own,theetchingsafterVernet'slandscapes
Etchings,1?24x 22i8 in. madebyCarleVernet,Joseph'sson
(45.1x 56.8cm) andGericault's teacher.Gericaultmayalso
S.P.AveryCollection,TheMiriam havestudied,asJoannaSzczepinska-Tramer
andIraD. WallachDivisionof Art, suggestedin herexhaustiveanalysisof
Prints,andPhotographs, TheNew
YorkPublicLibraxy, Astor,Lenox, Noon, a paintingbyVernet's teacher,
andTildenFoundations AdrienManglard. CalledLandscapewith

49

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-PamphiliiGal-
leryin 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
that Szczepinska-Tramerwas able to intuit
thatthey could not have been paintedbefore
the artist'sItalianvoyage.Her observation
was substantiatedby documentationin 1980,
when the invoicefor the deliveryof the three
canvasesin summer 1818was discovered.
Otherpictures,such as the landscapewith a
boatingpartythen attributedto Annibale
Carracci(fWlg. 2a), had their effect as well.
Following the example of Vernet,
Gericaultassembledthe motifs forNoon
from a varietyof sources,creating,for exam-
ple, 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
Figure lOC
AntoineJean-BaptisteThomas
(French,1791-1834)
Ploughing
from UnAn a Romeet dansses
environs.Recueilde Dessins
Lithographies
[Paris,1824]
x 9-gA8
Lithograph,71/4 in. (18.4x 25 cm)
The MetropolitanMuseumof Art,
l 'sAi-! i Giftof HartyG. Friedman,1967,
W-\e->|@s SPo 67.519
(figs. 1oa, 1ob), takingthe fragmentof a wall
with pilastersfromthe engravingof the tomb
of Plautius and applyingit to the basic struc-
tureof the tomb of Cecilia Metella. (Gericault
also must have seen Bourgeois's1817litho-
graphof the tomb of Plautius.)The bridge,
roughlybased on the Ponte Rottoin Rome,
also seems to have been adaptedfromen-
gravings,but a specificvisual sourcehas not
yet been identifWled.
The severedlimbs hanging on a
pole, easily overlookedyet unforgettableonce
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.
Thomas,who probablywas with Gericault
when he encounteredthe sight. Thomaswon
the 1816Prix de Rome that Gericaultlost,
and they both were in Italyin 1817.They
seem to have accompaniedone anotheron
fWleldtripsand sketchedside by side. In 1823
Thomas publishedan album of lithographs,
UnAna Rome,in which he collectedpictur-
esque incidentsof daily life that he had
witnessedduringhis stay.In the note to plate
XXXVIII (fig. 1oc), he described,"at the side of
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
BartolomeoPinelli
(Italian,1781-1835)
TheBrigands,1822
Etching,107/8X 75/4in.(27.7x 1g.7cm)
theirarmsandlegsarebroughtbackto the
spotaftertheexecutionof theirpunishment."
A copyofThomas'salbumwasin Gericault's
possessionathis death bythetimeit was
published,he wasalreadymortallyill. As
Szczepinska-Tramer hassuggested,Thomas
probably offeredit to Gericaultas a souvenir
of theirdaysin Italy.Pinelli,thenineteenth-
centurymasterof Italiangenrescenes,also
publishedanetchingofbanditscontem-
platingthehunglimbsof a formerpartnerin
crime,butthisworkof 1822 (fWlg. lod)could
notbe saidto haveintluencedGericault.
AlthoughThomasrefersto thespectacle
as common,noneof theusualwriterson
Italiancustom Lalande,Tambroni,
Santo-Domingo, Stendhal mentionedthe
practice,withtheexceptionof LadyMorgan
(seeSzczepinska-Tramer 1974).Yetwith
Gericault'sintenseinterestin themacabre,
onesightingwouldhavebeensuffWlcient to
Figure loe searit onhismemory.Themotifanticipates
Studyof SeveredLimbs thesubjectofhisgreatestandmostsingular
Oil on canvas,20l/2x 25l/4in.
works,thestilllifesof severedlimbs(fWlg.loe)
(52 x 64 cm)
Montpellier,Musee Fabre, Thoughtto havebeenstudiesforTheRaftof
Inv.876.3.38 the Medusa,a projectwe nowknowto have
been contemporaneous withthepaintingof the
Timesof Day,theyareclearlyautonomous
worksthatportray franklythegruesome beauty
of death,a subjectbroachedonlyindirectly
in Noon
Insomerespects,thecomposition of
Noon is themostdaringof theseries.Withits
warmwhitecloudsbillowingin a brilliant
ultramarine sky,it begscomparison to a
Poussin,butin his characteristically contrary
manner,Gericaultdisplacedtheharmonic
relationships of compositional elementsthat
arecentralto Poussin'sstyle.Thetombis too
large,thefigurestoosmall,andthebridge
doesnotfWlt atall.Thetombis alsoplaced
dangerously closeto thecenterof thecom-
position,so muchso thatonesensesthat
Gericault wasdeliberately rejectingthepic-
turesquestyle.Gilpin,whosetheorieson the
picturesque andthesublimepromotedideal
compositions overnature,thoughtthatmo-
tifstooirregular ortooprominently placed
passedfromthepicturesque to therealmhe
called"romantic." He found,forexample,
thatArthur's Seat,thelarge,ungainlyhillat
thecenterof Edinburgh, gavethatcitya
romanticratherthana picturesque aspect:
"Aviewwithsucha staringfeaturein it, can
no morebe picturesque thana facewitha
largebulbousnosecanbe beautiful"(quoted
in Vaughan1978,p. 38).
Eitnerhasexpressedtheopinion
thatif thereis anynarrative tobe foundin
theTimesofDay,it is probably autobiograph-
ical.ThisseemsmosttrueofNoon. The
canvasesforthelandscapes weredeliveredto
theartist'sstudiojustashis auntwasaboutto
givebirthtotheirchild,a boynamedGeorges-
Hippolyte. Thusonecouldeasilyassociate
Gericault's personalplightwiththeimageof
thedesperatemanwhoseeksrescueand
shelterfromthebrewingstormin Noon.
51
 11.

LANDSCAPE
EVENING: AN
WITH
AQUEDUCT
1818
x 86^/2in.
Oil on canvas,981/!Z
(250.2 x 219.7cm)
The MetropolitanMuseumof Art,
Purchase,Gift of JamesA. Moffett,2nd,
in memoxyof GeorgeM. Moffett,by
exchange, 1989, 1989.183

2
Figure 1la
PierreFrancsois Basan
(French,1723-1 797)
afterClaudeJosephVernet
(French,1714-1 789)
TheCascatelli
Etchingandengraving,7rJ.6x 8X/2
in.
(18.2x 21.7cm)
The MetropolitanMuseumof Art,
HarrisBrisbaneDick Fund, 1953,
53.600.1547
Figure llb
n Pontedelle Tom at Spoleto
Thewarmglowof thesettingsunstavesoff
theencroaching steel-bluecloudsof night.
Slantingbeamsof lightsilhouettetheivy-
coveredruinsofthebelvedereattheleft,pass
throughtheelegantarcadeoftheaqueduct,
andstriketherockycliffatthecenterbefore
withtheirlastrays,theblasted
illuminating,
treeatthefarright.Bathers perhapsthe
fishermenwholaunchedtheirbarkinMorning
(no.5),althoughGericaultgivesthemno
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 exhi-
bition at the Ecole des Beaux-Artsin 1808,
the year the seventeen-year-oldGericault
began his apprenticeshipwith CarleVernet.
With its transienteffects of light,
craggyrocks,and handsomeRoman archi-
tecture,Eveningcomes closerto Joseph
Vernet'sspectacularpaysagesa eJ%et than
does Morning(no. 5) orNoon (no. lo). Here,
we fWlnd Gericaultemulatingthe Vernetwhom
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 re-
turncalm 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-
3
 hg b . i U

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

noticed,included specificmotifsborrowed
from some of Vernet'scelebratedcomposi-
tions. The aqueduct,for example, seems to
be taken fromVernet's1751view of Tivoli
(fig. 1la), which was engravedand thus read- \\ re

ily accessible,althoughVernetrepeatedvari-
ations of this aqueductin other compositions
as well. GericaultvisitedTivoli duringhis
stayin Italy(see no. 3), but he could only l

have known the aqueductfromVernet'spic- \ * 8

ture,sincethe structureexistedonlyin Vernet's

imagination.Althoughit looks convincing,it
frs S #!,
is a conflationof a specificbridge,the ! /

. : ,, ¢ /

thirteenth-centutyPonte delle Torriat Spoleto . ,

/ ,/
/

(fig. 1lb) nearlysixtymiles fromTivoli- t

.

;
'_;
.

..

and a generic, double-tieredRoman aque-

duct.While the lowerbuildings are based on
those at Spoleto,the mountain crownedby a
- v

tower,the repoussoir at the left, and the St_j

Figure lld
$heetof FigureStudies(verso)
subjectof evening bathingare all adapted
Graphiteon paper,131/8 X 834in.
from VerIlet (flg. l lC).
(33-2 X 22.3 cm)
Rouen, Musee des Beaux-Arts,
Inv.880.16.12

4
Figure lle Neithera plagiarist
nora slavish wereprepared witha reddish-brown wash,
AntonioCarracci copyist,GericaultquotedfromVernetin order stillvisiblein the shadows,andthewater
(Italian,1583-1618) to underscore thenoveltyof hisownconcep- witha grayground.Onthewhole,thecanvas
TheDeluge
Oil on canvas,655/8x 9714in. tion.Thevertiginous stackof compositional is thinlypainted.Gericaultstroveformaxi-
(166x 247 cm) elements,theabnormally highhorizon- mumeffectthrougheconomicalmeans:only
Paris,Musee du Louvre suggestedbutnotvisible thewiderangeof in thehighlights ofthefWlgures, thetreeat
Inv.230 tone,andtheintensityof huerevealthe theright,andof thecliffsandbuildingsin
antinaturalist
andessentiallyManneriststyle themiddledistance- didhe indulgein im-
of Gericault's
landscapesin oppositionto the pasto,withbrilliantpassagesof spontaneous
dramatic butnature-bound visionofVernet brushwork. Allof thevegetationwaspainted
orthetimidandsometimesanemicNeoclas- impromptu, andmostoftheprofWlles were
sicalcompositions ofValenciennes. Vernet freelydrawn.Inhis fWlnishing touches,
tookliberties witharchitecture, topograph- Gericaultreemphasized thecontoursto
icalsites,andmeteorological phenomena in achievesharp,sculptural defWlnition.
A draw-
orderto givea moreconvincing impression of ingin Rouen(fWlg. 11d) mayrelateto the
reality.Gericaulthereabandoned realityin climbingbatherattheright,a paraphrase of
orderto suggestthe sublimityof nature, a fWlgurein Carracci's TheDeluge (fWlg.1l e).
whichhe interpreted as anawesome,Michel- LorenzEitnerhaskindlybroughtto myat-
angelesqueforce. tentionanotherdrawingthatis alsoin Rouen,
Gericaultappearstohaveindicated anunusualblack-chalk studyof seatedmale
thebroadmassesof thecomposition while nudesattributed to Gericaultandformerlyin
applyingthegroundto thecanvas.Thecliffs thecollectionof the artist'sfriendLehoux.

55
wlth
to
precisely
fixingoftherelationshipofthlsdrawlngto
Saint-Denis).
mostcopiedcompositionsoftheRenaissance,
adiers
and
(no. study
1814,
ancertainty.
Gericault
11).
surprised
inspiration
correspond
Napoleon
for
The
Whilebased
It
poses
aby
it for
was
painting
isthe
to
Gtvteg
the
unlikely
later
here,
removed
those
enemy. ^,
figures
artists
:an
that
in TOA
however,
from
One
jdated
the
Order
on
-Fofrom
of
Id r_wsketch-
those
a.painting,
!;
the
_to
by
do
Rubens
t;; < r
l...............................
tXFi
-;-an
Lucasvan
after not
most
-\ ,-'Figure
g>! Michelangelo
stZ ---/
Jst_N
-k
f _-D
-,
6-
,scholars
j -, v9sJ/ d l2a
, -1Leyden
&.- & JS and = >^
m

12.

STUDIES
OFBATHERS
About1818?
Browninkandgraphite011,a,esr
6lMl6x gl/sin.(17.3x 23.2cm)
TheArtInstituteof Chicago,Giftof
TiffanyandMargaret Blake,1947.35
folio44

Atfirstsight,thesemuscularnudebathers
wouldappearto be studiesforthebathersin >,_
Evening,theMetropolitan'slandscape
of 1818 14 z

andas a furtherdeterrent
to theprecise °9-:) f

thelandscape,thedrawingcannotbe dated . E\+ . <t ' - ,G iSytsU tv

bookthatEitnerdatesto1813-14butthat //f it
Christopher
Sellsdatesto 1817-18.Thesketch .
of Napoleonon horsebackattheupperleftis - - 5 ^ j= _

Officer
of theChasseurs
(Reims,Musee } ^ -£=_ 3

Gericaultwouldconceivea Napoleoniccom- li
positlonafterthe defeatatWaterlooin 1815, p _ -¢ _
thepaintingin Reimsis in facta copyaftera _- : :
workbyHoraceVernetandthuscouldhave
beenpaintedlater.Gericaultworkedin this
spirited,calligraphic
drawingstylebothbe-
foreandafterhistripto Italyin 1816-17.
Onecanthereforeentertaina dateof 1817-18
forthe sheet,bringingit closerto the
Metropolitan's landscape,butthepen
workcannotbe firmlydatedonthebasisof
stylealone. j ; ^

inMichelangelo's
designforafresco,The IjSW
Battleo+Cascina,whichshowedbathingsol- lt- > <2__ 2

to Degas,thefrescowasneverexecuted w t =; , 28q
andwasknownonlythroughprints(fig.12a). = 8 - 3

-J _,Zliv p g s Marcantonio Raimondi

t -.-- = l <Ex3*5 0 (Italian,l480-ls27/34),

w } t 11%{ } $X J {5 EtChingX11VX6X87/8in
(3OX22
5Cm)
10if l.t';.,.g! ; ;'.t . ........ S TheMetropolitanMuseumofArt,
, jg 1 5 ,t, >>, ^ ; vg Bequest,1917,

6
 13.
THEDELUGE
About1818
Oil on canvas,3814x 51lAin. (97 x 130 cm)
Paris,Musee du Louvre,Departement
des Peintures,RF 1950-40
Scenes of drowning,eitherprimordial,as in
the Deluge, or modern,as in shipwrecks,were
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
resurgence,one paintingstoodas the definitive
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
openedas a publicgalleryin 1790,thepic-
turehadbeenexhibitedsince1750in the
Luxembourg Palace.AsRichardVerdihas
demonstrated, itwasalsoconsideredPoussin's
mostfamouspainting.TheDeluge prompted
hyperbolic praisefromtemperaments as dif-
ferentasthoseof Diderot,theRationalist,
Chateaubriand, theRomantic,Constable,
thenaturalist andP.N.
Englishlandscapist,
Guerin,theNeoclassical painter,whowas
oneof Gericault's teachers.However,French
artists,unliketheirEnglishcounterparts,did
57
notoftenquotefromPoussin'scomposition
whenpaintingtheirown.Twoof themost
significantworks,Jean-Baptiste Regnault's
paintingof 1802(fig.13b)andits offspring,
A. L. Girodetde Roussy-Trioson's A Flood
Sceneof 1806(fig.13C), conjureuphorrific,
moralizingscenesthatfocuson humande-
spairin a mannerrecallingJ. F.Fuseli's
nightmarish illustrationsengravedin 1802
forMilton'sParadiseLost.AlthoughGericault
drewa copyof Girodet'spainting,he deliber- on Poussin'scomposition. Twodrawings Figure 13a
atelyrenouncedthetheatricsof Regnault specificallyforthispaintingareknown NicolasPoussin
andGirodetfora muchsubtlerinvestigation onlythroughtracingsbyGericault's friend (French,1594-1665)
Winteror TheDeluge
of Poussin'scomposition. Aneffortto rescue AlexandreColin(Switzerland, privatecollec- Oil on canvas,46l/2 x 63 in.
lovedones women,children,the aged is tion);a thirddrawing,byGericault,is at (118X l60cm)
an anecdotecommonto allof theseflood Rouen(inv.no. 17lr).Althoughvariousau- Paris,Musee du Louvre,
scenes,butGericault,likePoussin,attempted thorshaveproposeddatesforGericault's Inv.7306
to makethelandscape,nottheanecdote, Deluge rangingfrom1810to 1822, the style
conveytheemotion."Gericault understood of thepaintingtechniquesuggeststhatit was
thesegrand,dramaticscenesof natureand executedsoonafterthe 1816-17tripto Italy.
expressedthemwithrealpower,"wrote Thefiguresin thisworkaresimilarto those
Clementin the 1860S(1879,p. 73).Thishe in theMetropolitan's landscape(no.1l),
accomplished bysubordinating the scaleof whichcannowbe surelydatedto 1818.In
thefiguresto thatof thedismalpanoramaof 1954,whenthelargelandscapes werethought
seaandsky.Bothelementsareworkedin a to dateto 1814,Eitnercorrectlyrecognized Figure 13b(left)
Jean-BaptisteRegnault
nearmonochrome ofgray-green, relieved therelationship of TheDeluge to theland- (French,1754-1829)
onlybytherose-colored underlayer thatoc- TheDeluge,1802
casionallyshowsthroughthe sky.Nowhere Oil on canvas,35l/8 x 28 in.
didGericaultuseblue,theonecolorto be (89.2X71 cm)
mostexpected. Paris,Musee du Louvre,
Inv.7380
In a drawingin the so-calledan-
tiquemannerof 1815-16 aptlydescribed
byEitneras "Flaxmandrivenmadby Figure 13C(opposite,above)
Michelangelo" Gericaultcopieda specific, Anne Louis Girodetde
Roussy-Trioson
andratherpeculiar,motiffromPoussin's (French,1767-1824)
Deluge, a manclingingto theearof a swim- A Flood Scene,1806
minghorse(fig.13d).Aboutthe sametime, Oil on canvas,174 x 13414 in.
he drewa finishedwashdrawing(Paris, (444-2 x 343-2 cm)
privatecollection)closelyrelatedto the Paris,Musee du Louvre,
Inv.4934
Poussin,whichhe musthavestudiedatthe
Louvre,buthe mayalsohavereferredto an
engravedreproduction thathe is knownto Figure 13d (opposite,below)
haveownedbecauseit wasincludedin the StlldyforTheDeluge
posthumoussaleof his studiocontents.The Graphite,wash, and ink on paper,
7l/sxlo5/l6in.(l8.lx26.2cm)
presentpictureis no morethanlooselybased Privatecollection

8
 scapes:"Theresemblance is notmerelya
matterof theircommonorientation to
seventeenth-century tradition....Itis, above
all,a closestylisticsimilarity,onewhichex-
tendstothe color, to the types,the
fWlgure
sharplydrawncontoursandsculptural vol-
umes,andevento theverybrushwork. Quite
clearly,theybelongtogether,andarenot
separated bya periodof severalyears"
(1954a,p- 134)
Althoughit is notsurprising that
GericaultchosetheDelugeas a subject,it is
intriguingto considerthathe didso at a time
ofpersonaldisturbance. Hisdoomedaffair
withhis aunt,playedoutduringthetumultof
Napoleon'sHundredDaysandtheturmoil
ofthesecondBourbonRestoration, must
havecontributed to theoverwhelming sense
of disasterthatis thetruesubjectofthis
picture.Gericault madetwodrawings ofa man
holdinga drownedwomanabout1815-16,
thatis, notlongbeforehe lefthisaunttotravel
toItaly(MuseedesBeaux-Arts de Rouen,inv.
no. 147;Angers,MuseeTurpinde Crisse,
inv.no.4854).Awaitingthebirthof their
childafterhisreturnto France,he mayhave
takenupthethemeof drowningin thesup-
posedfourthpanelof theTimesof Day(p.27).
Afterthechildwasbornandsentaway,
Gericaultcreatedthegreatpoemon drown-
ing,death,despair,andhope,TheRaftof the
Medusa(seep. 9). TheDelugewasprobably
alsoexecutedaboutthistime.
Gericaultpaintedthisworkona can-
vas that he had already used.X-radiography
hasrevealed that underneath TheDeluge is a
copyGericaultmadeabout 1812-14 ofthe
fWlgureof Napoleonon horseback fromGros's
Battleof thePyramidsof 1810(Museede
Therosecolorfaintlyvisiblein
Versailles).
portionsof theskyis probably theearlier
paintingshowingthrough.
- Z

59

i"J- {
If Gericaultdid paintNtght,the fourthpanel
of the Times of Day, it would have been
executedconcurrentlywith TheRaftof the
Medusa(figs. 3, 14a),probablyin the same
large studioin the faubourgdu Roule thathe
had rentedin June 1818to accommodate
canvasesof great size. Indeed, Clement re-
cordedthat 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 enor-
mous projectsthat simultaneouslyengaged
the artist,and not only scale but subject
connectedthem. JosephVernethad, by the
mid-eighteenthcentury,establishedshipwreck
scenes as appropriateto depictNight in cy-
cles of the times of day,and Gericaulthad
decided by earlysummer 1818that a ship-
wreckwould 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 in-
competenceand cowardiceof the aristocratic
60
} @:?
14.
OFTHE
THEl:RAFT (REDUCTION)
MEDUSA
1820
Watercolorand graphiteon paper,
41/8 x 61/2 in.
(10.5 x 16.5cm)
Geneva,GalerieJan Krugier
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.
Two of the fifteen survivors(fiveof
whom died of exposuresoon aftertheir res-
cue) were determinedto make the truth
known.Henri Savigny,a surgeon,wrotea
reportthat, to the government'sgreat embar-
rassment,was leaked to the press. Savigny
was joined by AlexandreCorreard,a geogra-
pher,in pressingthe governmentfor compen-
sationfor the victims.In lieu of compensation
they were harassed,and they took their case
to the publicfor support.An expanded

Figure 14a descriptionof the disasterwas publishedin
TheRaftof theMedusa November1817,just afterGericault'sreturn
Oil on canvas,1933/8x 284 in. to ParisfromItaly.The bookwas soon sold
(493.4 x 725 8 cm) out, and demandwas suchthatit wentthrough
Paris,Musee du Louvre,
Inv.4884 severaleditions.Correardeven set up a shop
called Au Naufragede la Meduse in the
arcadeof the Palais Royal,where he sold the
book and printedotherpoliticalpamphlets.
Gericaulttried depictingseveralep-
isodes of the disasterbeforesettling,in sum-
mer 1818,on the sightingof the rescue ship.
Havingbegun with scenes crowdedwith fig-
ures, he simplifiedhis conceptionuntil he
arrivedat the solution:a pyramidalcomposi-
tion of fifteensurvivorsstrainingtowardthe
minusculeship on the horizon,theirplead-
ing, outstretchedarmsinterlacedwith the
limbs of cadavers.At the 1819Salon, the
second and grandestof the Restoration,
it was prominentlyplaced 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
extraordinaryfusion of Rubensianfervorand
Michelangelesqueterribilita,Gericaulteffec-
tivelyoverturnedDavid'spreceptsof Neo-
classicism,which had monopolizedhistory
paintingin Francefor nearlytwo genera-
tions. 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'smasterpiece.
The next generationof painters,led by
Delacroix,would no longeracceptthose prin-
ciples on faith.
The same sensibilitythat created
TheRaftalso createdthe cycle of large land-
scapes.For this reasonalone it seems plausi-
ble 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
preparationfor a lithographillustratingthe
1821edition of Savignyand Correard'stext.
The artist'sfriendsreportedthat he became
dissatisfiedwith the compositionafterthe
exhibitionin 1819,and in this reduction,he
broughtthe raftcloserto the foreground,
raisedthe horizonline significantly,and en-
largedthe rescue ship perhapsthe final
correctionof his most celebratedpainting.
61
 15.
ANDCHILDONA
WOMAN
DROWNED
BEACH
About1822
Oil on canvas,1934x 2334in.
(S0 2 x 60.3 cm)
Brussels,MuseesRoyauxdes Beaux-Arts
de Belgique,Inv.3558
Clementrecountedthatthis workwas "a sort
of imitationof a paintingwhichHoraceVernet
executedin Gericault'sstudiotin the rue des
Martyrs,for a Russiancollector."No paint-
ing knownto be by Vernetresemblesthis
picture,althoughGrunchec(lg7gb, pp. 53,
54) has suggested,and othersfollowinghim,
thatan oil of the same compositionin Lons-le-
Saunier(fig. 1sa) once attributedto Gericault
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.
Twoillustrationsof shipwreckscenes
by Vernet one for Taylor's1822 armchair-
traveler'sguide, VoyagesPittoresques, the
otherfor an 1823 edition in French of Lord
62
U # -- g t # - - ts wX
o. i
Byron'spoems (figs. 16a,16b) areoften cited
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 parentsmourn-
ing the loss of their childrenwere recurrent
themes in Gericault'soeurre fromhis return
to Paris in late 1817 until his departurefor
England in 1820. This periodcorrespondsto
that in which the affairwith his aunt reached
an inescapablecrisisand conclusion:the
birthof their child, the revelationof their
near-incestuousrelations,and the forcedsep-
arationof the loversfromeach otherand the
child. In Paris in 1822-23, sickwith the
maladythat would soon end his life,
Gericaultagain took up the subjectof death
 -W -- 4X80 A-e-
Figure lsa by drowningin the present painting,in a
Forrnerlyattributedto Gericault smallerversionin Paris (fig.1sb), which may
TheTempest
be a preparatorysketch,and in The Tempest
Oil on canvas,503/4x 763/4in.
(129x 195 cm) (no. 16)
Lons-le-Saunier, On a sheet now in a privatecollec-
Musee des Beaux-Arts tion (fig. 15C),Gericaultsketchedseveral
alternativesfor the limp figuresof mother
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
flotsamcast ashore.Characteristically, it is
the landscape,with its jaggedrocks,and the
Figure 1sb
The Tempest
Oilon canvas,7 t/2x 97/8 in. (19 x 2 5 cm)
Paris,Musee du Louvre,
RF 784
sea, with its remorselesssuccessionof waves,
that carriesthe emotion.
Grunchec(1978,no. 220) has recently
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
63
 as y i . i - - x X *

de Mello shipwreckat the Salon of 1824, and

the descriptionin the cataloguesuggestsit
may have been similarin appearanceto the a} y :
i *
S
w _ t ) )

presentpainting. t | o-

A lithographiccopy of Gericault's t - ^"y S. *

s S ; ^

paintingwas made by CharlesBouquet. d#; } S \N

Because Clement mentions the lithographin

his entryon the painting(L'Epave),we can
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 exhibi-
tion in Paris a paintingcalled L'Epave,which
was specifiedboth in the catalogueand in a
reviewas a collaborationof Gericaultand his
friendDedreux-Dorcy.An 1831dictionaryof
modernFrench artistsalso mentions a col-
laborativework.The presentcanvasis some-
times identifiedas the paintingformerlyin
Constantin'scollection,but there is no proof Figure 15C
Sheetof Studies
of that;nor is there any visual evidence of it Graphiteon paper,111il6 X 85/8 in.
havingbeen paintedby two differenthands. (30 x 22 cm)
The inscriptionon Bouquet'slithographgives Privatecollection
only Gericaultas the author.Yetproblems
remain.The conflictbetween Clement'sref-
erence to a paintingby HoraceVernetand
the 1826 exhibitionof a picturejointlyexe-
cuted by Gericaultand Dedreux-Dorcyhas
not been adequatelyexplained.

64
 16.
THETEMPEST
About1822
Watercolorand graphiteon whitewove
(23.2x 21cm);inscribed
paper,g1/sx8l/4in.
on verso:Gericault/donneparM. Dedreux
d0rcy/I 832
The ArtInstituteof Chicago,Helen
RegensteinCollection,1965.13

This workseems to depictan episodefollow-
ing 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,
this watercolorhas a strongillustrativeap-
peal. Somethinghas happened,and we, like
the monk, are made curiousto learnwhat it
was. Here, Gericaultapproachesthe newly
emergingstyleof Romanticillustration,which
was developedby artistsin his immediate
entourage,HoraceVernet,AryScheffer,and
Leon Cogniet.Vernet'slithographsof ship-
wreckscenes (lgS. 16a, 16b),often discussed
in relationto this workand the Brussels
painting,are primeexamplesof the new style.

65
another fXlve were transferred to the stone >

Essentialto thestylewereLordByron's
poems,which,withtheirdramaticevents
andexoticsettings,captivated theseartists.
Hisnarratives anddescriptive passagesinflu-
encedthelookof earlyFrenchlithographs
asmuchasanyotherindividual factor.In 18
VernetwasthefilrstFrenchartistto illustrate g _
a passagefromByronwithhisprintConrad
andGulnare,basedon a passagefrom"The vi_
Corsair."AfterByron'spoemswerepublished _ i
inFrenchin 1823,Gericaultimmediately
madea lithographanda watercolor of The :;7g
Giaour,in whichthe Christiancrusaderrides
througha rockylandscapesimilarto thatof a jj
TheTempest, aswellas a suiteof seven _
illustrations
of episodesfromByronthatwere
basedon earlierEnglishillustrations.He ^t.
> .; 3 !
executedtwoof thelithographs himselfand i

bya new,youngassociate,EugeneLami, _ S
fromoilsketchesthatGericaulthadprepared. -
Historianshavelookedin Byron'swritings
fora passagethatcouldhaveinspiredThe
Tempest butnonehasbeenfound.

Figure 16a
HoraceVernet
(French,1789-1863)
Shiptreckedon theBeachof
Pourville,1822
Lithograph,6l/2 X 75/8 in.
(16.5 x 18.7cm)
The MetropolitanMuseumof Art,
The Elisha WhittelseyCollection,
The ElishaWhittelseyFund,1959,
59 5°0.419

66
 -
brovo-wtwes#< - -;:*> --=f , ..........
4g> l a,--
tF

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'sattribu-
tion difilcultto sustainin the absence of
comparableworkby Dedreux-Dorcy.It is
true,however,that the executionlacks
' t#:- ffi Gericault'scharacteristicvigor.A compli-
catingfactoris the descriptionby a con-
temporarycriticof a paintingof the same
subjectthat was reputedlythe jointproduc-
Xx 0oP t;4
tion of Dedreux-Dorcyand Gericault(see no.
15).Gericault'sstudent A. A. Montfort
_K.D
_f

7
tt ''
sketcheda similarscene on a sheet now in
..
."#' *4 the Ecole des Beaux-Arts,Paris (Ilg. 16C).
1 - :
Whetheror not thiswatercoloris by Gericault,
,,_J.^eXd*.*X27j

it testifiesto the strongappealof this kind of

L'f}XU}'wiACt BS D bH J W.E;sX imageryto the groupof young artistsin his
immediatecircle.

Figure 16b
HoraceVernet
(French,1789-1863)
TheShipwreckofDonJuan,1823
Lithograph,8 x 63/8in.
(20.3 x 16.2cm)
Privatecollection
-
4 - +

''s - z# 6

is ) --
^wqf:F #'
s
/ O-j e -s

.w. f r

v ...
I . E

w r 8

.b*e* t//WrX\\s$zz
Figure 16C
AntoineAlphonseMontfort
:-
(French,1802-1884)
Sheetof Studies
Graphiteon paper. )

Paris,Ecole des Beaux-Arts

67
 NOTES
. Studiesfor DecorativePanels, 1816?
PROVENANCE: Possiblyincludedunder
nos. 7o, 72, or 86 in the artist'sposthumous
inventory;probablyincludedin the posthumous
sale of Gericault'sstudio,H6tel Bullion,Paris,
November2, 3, 1824,no. 42, as "Trente-trois
calepinsremplisd'etudes;figures,animaux,vues
de paysageset 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 Commis-
saires,Januaryl l -1 3, 1894,p. 69, as "TresPrecieux
Album,contenantsoixante-quatrecroquispar
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 MargaretBlake, 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; Szczepinska-
Tramer1982,p. 140;Bazin 1989,pp. 34, 149,
nos. 725 (recto)and 726 (verso),repr.;Sells 1989,
pp. 341-57-
2. Studiesfor a Compositionwith 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-Tramer1982,p. 140;Bazin 1989,
pp. 34, 61, 149-50, no. 727 (verso),repr.as
"Recherchespourune scenegalantedu xvIIesiecle,"
68
pp.208-g, no. 885 (recto),repr.as "Recherches
pourScenes Militaires";Sells 1989, pp.341-57.
3. Viewof 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. ViewofMontmartre,
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,
and her sister,Mme Milliet,Antibes;sale, Coutan-
Hauguetcollection,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
withFzshermen,
1818
PROVENANCE: Possiblyone of the four
landscapescataloguedin the posthumoussale of
Gericault'sstudio,Hotel Bullion,Paris,November
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; Steingraber1979,
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.
6. StudyforMoming: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,
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
"Landscapewith 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 thoughClementspecificallydescribesa 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; Steingraber1979, pp.
246-47; Eitner1983, p. 143, fig. 125; p. 34o, n. 28.
7. StudiesofFishermen,
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
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-Artsde 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 (Eitneridentifies
thissheetasthat . Evening:Landscape
withan
described byClement[1879, p. 328, no.5] even Aqueduct,1818
thoughClementspecifically describesa sheetwith PROVENANCE: Possiblyoneof four
twolandscapes andnotone.Clementmayhave landscapes catalogued in theposthumous saleof
hadin mindthesheetwithtwolandscapes, nowin Gericault's studio,HotelBullion,Paris,November
Bayonne[inv.no.802]; or,if not,he refersto a lost 2, 3, 1824,no. 18,as "Quatre Esquissesde
drawing); Szczepinska-Tramer 1974, p. 299, n. 4;
Paysages," forF92;subsequent whereabouts
Lemoine1976, pp. 139-40, no. 117,repr.; unknown; possiblyattheChateaudeMontmorency,
Steingraber 1979, pp. 246-47; Eitner1983,
Montmorency, after1886,untilbefore 1903;possibly
pp- 142-43, fig- 124, p. 340, n. 28. withRenePetit-Leroy, Paris,until1903;sale,
H6telDrouot,Paris,May30, 1903,no.23,as
0. Noon:Landscape witha Roman "Paysage avecrocherset constructions," together
Tomb,1818 withno. 22to LavilleforF 1,205;possiblywith
Comtede Saint-Leon, ChateaudeJeurre,Etrechy,
PROVENANCE: Possiblyoneofthefour
landscapes catalogued in theposthumous until 1937; possiblyto Nat Leeb,Paris,1937-49;
saleof
possiblytoAlexandre Ujlaky, Paris,1949;Paul
Gericault's studio,HotelBullion,Paris,November
BrameandCesardeHauke,Paris,1952-54;to
2, 3, 1824, no. 18, as "Quatre Esquissesde
Paysages," forF 92; subsequent WalterP.Chnysler, Jr.,NewYork,1954-88;
whereabouts
onloantoTheChnysler Museum,Norfolk, Virginia,
unknown; possibly attheChateau deMontmorency,
from1971-88;hissale,Sotheby's, NewYork,
Montmorency, after1886, untilbefore1903; 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,
"Villageaubordd'uneriviere," togetherwithno. no. 70,as "Paysaged'Italieaucoucherdusoleil,"
23 to LavilleforF 1,205; possibly withComtede 1812-15,lentbyPaulBrameandCesardeHauke;
Saint-Leon, ChateaudeJeurre,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; PaulBrameand Evening," lentbyWalterP.Chnysler, Jr.;1958
Cesarde Hauke,Paris,1952-54; toWalterP. 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,NorthCarolina, andBirmingham,
EXHIBITIONS: 1953 Winterthur, p. 31,
no. 71, as "Paysaged'Italiepartempsorageux," Alabama, p. 37,no. 19,repr.
REFERENCES: Clement1867a,p. 235;
812-15, lentbyPaulBrameandCesardeHauke;
Clement1867b,p. 275,underno. 13, as 1810-12;
1956-57 Portland, Oregon,et al.,p.45, no. 72, fig. Clement1879,pp.72, 280,underno. 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); Aime-
Detroit,andPhiladelphia, p. 15, n. 1,pp.18, 67-68, Azam1956,p. 126,as spring1816;Eitner1959,
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 Eitner1963,pp.22-23, 32-33, nn.5, 12,13;
color;1980-81 SydneyandMelbourne, pp.106-7, delGuercio1963,pp.33-34, 142,fig.27,as 1815;
no.49, repr.;1987-88 Kamakura, Kyoto,and Jullian1966,pp.897,goo-gol, 902,n. 4; Berger
Fukuoka,pp.78-80, no.P-ll, repr. 1968,p. 167,underno.20;Aime-Azam 1970,
REFERENCES: Clement1867a,p. 235; pp.152,375;Eitner1974,p. 448,underno.16;
Clement1867b,p. 275, underno.13, as 1810-12; Szczepinska-Tramer 1974,pp.299-300,303,306-7,
Clement1879, pp. 72, 280, underno. 16; Eitner 310-1l,313,asafter1817;Julia1975,pp.448-49,
gs4a, pp. 131-42, fig. 1, as 1814-16; Huggler
underno. 75;Geiger,Guillaume, andLemoine
1954, pp. 234, 237, fig. 1;Aime-Azam 1956,
1976,pp.26-27,underno.37;Lemoine1976,
p. 126, as spring1816; Eitner1959, pp. ll9-21;
p. 139,underno. 117;Grunchec1978,pp.106-7,
Lebel1960, pp. 328-35, 34o, nn.8, 9, p. 341, no. 129,fig.129,pl.XXVI in color;Gruncheclg7ga,
nn. 16, 22, 24, fig. 1, as 1810-12?; Eitner1963, pp.218-21,fig.A,asafter1817;Steingraber 1979,
pp. 22-23, 32-33, nn.5, 12, 13; delGuercio
pp.246-47;D. Rosenthal1980,p. 638,n. 6;
1963, pp. 33-34, 142, fig. 26; Jullian1966, vol. 1,
Toussaint 1980,pp.106-7,underno.49. repr.;
pp. 897, goo-gol, go2, n. 4; Aime-Azam 1970,
Eitner1983,pp.142-45,340,nn.24-27, 34,
pp. 152, 375; Eitner1974, p. 448, underno. 16;
fig.120,as 1818;Brugerolles 1984,p. 245,under
Szczepinska-Tramer 1974, pp. 2gg-3oo, 3o3,
no. 346;Harrison1985,no. 3, repr.;Eitner1987,
306-8, 310-13, as after1817; Geiger,Guillaume,
pp.293-94;Granville1987,p. 280;Hashi1987,
andLemoine1976, pp. 26-27, underno. 37; p. 80,repr.;Schaefer1989,pp.28-29, repr.in
Lemoine1976, pp. 139-40, underno.116;Grunchec color.
1978, pp. 106-7, no. 130, fig. 130, pl. XXVII in
color;Zerner1978, p. 480; Steingraber 1979,
pp. 246-47; D. Rosenthal 1980, p. 638, n. 6;
Eitner1983, pp. 142-45, 340, nn 24-27 31 34,
12. StudiesofBathers,about 1818?
pl. 26 in color,as 1818;Mosby1983,p. 84; PROVENANCE: See no.l.

Brugerolles1984,p. 245, underno. 346; Granville EXHIBITIONS: None.

1987,p. 280; Eitnerand Nash 1989,p. 54, under REFERENCES: Eitner lgs4a, p. 135,
nn. 17,

no. 26; Schaefer1989,pp. 28-29. 18:Eitner 1960,p.35,under folio44,repr.;

7o
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;Eitner 1983,pp.46,328,n. 15;Sells
1989,pp.341-57;Bazin 1989,pp.45,171,
no. 788,repr.
l 3. TheDeluge,about1817-18
PROVENANCE: PossiblyJuliende la
Rochenoire,Paris,in 1858; possiblyhis sale, Paris,
March22,1858,no. 64,as "Scenedu deluge, lere
pensee du tableau,"to GarreauforF 27(however,
this is morelikelythe drawingin a privatecollection
[Bazin1989,no. 983]); A. de Girardin,Paris,by
1867;sale, H6tel Drouot,Paris,March22,1869,
no. 26,as "Scenedu Deluge," to ErnestGarielfor
F lo,ooo; ErnestGariel,Paris;to his daughter,
Mme StephanePiot, by 1924until at least 1937;
to her son, AndrePiot, until his sale to the Musee
du Louvre,Paris, 1950.
EXHIBITIONS: 1924Parisand Rouen,
p.58,no. 137,as "Scenedu Deluge," 1818-lg,
lent by Mme StephanePiot; 1937Paris,no. 56,as
"Scenedu Deluge," 181 7-lg, lent by Mme
StephanePiot; 1966Paris,no. 32;1967Paris,
no. 358;1968-69 Moscowand Leningrad,no. 56,
repr.;1971-72 Los Angeles,Detroit,and
Philadelphia,p. 66,no. 29,repr.;1975Paris;1976
Hamburg,pp. 208,213,no. 164,repr.;1984Mareq-
en-Baroeuland Dieppe,no. 20,repr.
REFERENCES: Clement 1867b,p. 290,
no. 127,as "Scenedu Deluge,"Mme la Vicomtesse
de Girardin;Clement1879, pp.72-73,30g-lo,
no. 133,as "Scenedu Deluge," 1818-20, Mme la
Vicomtessede Girardincollection;Courthion1947,
p.34,n. 1 (repr.fromBatissier1824or 1842),
p.161;Eitnerlg54a, p. 134,n- 14,pp 135-37,139,
140,fig.6;Eitner1960,pp.1l,35;Lebel 1960,
pp.333,335,figs.3,4 (detail);Eitner1963,
pp.22-23,as 1815-16; Jullian1966, vol.1,p.897,
as pre-Italy;Granville1968, pp.139-46,figs.1,3
(x-ray),as post-Italy;Eitner1974, p.455,no. 133;
Szczepinska-Tramer 1974,pp.3oo,311,313;
Grunchec1978,pp.105-6,no. 123,repr.,as
1817-20; Verdi1981, p.397,n. 75,fig.4;Eitner
1983,pp.96-97,344,n. 137,pl.17in color,as
1812-15; Grunchec1985, p.47,underno. 9,
fig. ga; Bazin1989, pp.78,229,no. 934,repr.
14. TheRaftoftheMedusa(reduction),
1820
PROVENANCE: PossiblyGericaults gift to
AlexandreCorreard,Paris,by 1820; Leclerefils,
Paris,by 1867; M. Rouher,Paris;to his daughter,
MarquiseSamuelVellesde la Valette,Paris;to her
familyby descent;sale, SothebyParkeBernet&
Co., London,March3o,1977, no. 108,for£ 21,000.
EXHIBITIONS: 1989San Francisco,p. 60,
no. 41,repr.in color;lggo-gl New Yorkand
Geneva,pp. 92-93,no. 52,repr.
REFERENCES: Clement 1867C, p.368,
no. l26-b, as "Reproductiondu tableau,"Leclere
filscollection;Clement1879, pp.357-58,no. 13g-b,
as "Reproduction du tableau,"Leclerefilscollection;
Eitner1972,p. 152,no. 28; Barran1977,p. 311,
fig. 124.
5. DrownedWoman andChildona
Beach,about1822
PROVENANCE: Probablynot the work
includedas no. 25of the artist'sposthumous
inventony,as "vuede mer";probablynot the work
includedin the artist'sposthumoussale, Hotel de
Bullion,Paris,November2,3, 1824,no. 19,as
"Etudede paysagerepresentantune vue des bords
de la mer parun tempsorageux,"for F86;possibly
ArnedeeConstantin,Paris,until 1830; his sale,
52rue Saint-Lazare,Paris,February15,1830,
no. lgo, as "Une femme, avec son enfantest jetee,
a la suite d'unetempete,parune fortevague surle
rivageet contreun rocher";sale, Hotel Drouot,
Paris,March1l, 1892,no. 3o,as "La Tempete";
possiblyDelestre,Paris;Eugene Clarembaux,
Brussels,until lgol; to the Musees Royauxdes
Beaux-Artsde Belgique,Brussels,from lgol.
EXHIBITIONS: 1826Parisas by Dedreux-
Dorcyand Gericault,lent by Constantin(per
Grunchec1978,p.122;and Eitner1983, p.358,
n. 91);1924Parisand Rouen,p. 66,no. 176,as
"L'Epaveou la Tempete";1936Paris,p. 107,
no. 735;1952London,p. 23,no. 21,as "TheWreck,
or The Storm,"1812-16 (notexhibitedaccording
to Eitner1974); 1953Winterthur,p. 38,no. 112;
1962-63Charleroi,no. 2;1963Rouen,no. 2;
1971-72Los Angeles,Detroit,and Philadelphia,
p.162,no. 117,repr.;1979-80Rome,pp. 249-52,
no. 35,repr.;1987-88Kamakura,Kyoto,and
Fukuoka,pp. 118-20, no. P-32,repr.
REFERENCES: Clement1867b,p. 281,
no. 63,as "Scenede Naufrage";Clement 1879,
p.72,as "Scenede Naufrage,"p. 293,no. 67,as
"LaTempete";Fierens-Gevaertand Laes 1922,
p.172,no. 286;L. Rosenthal1924,p.54;Regamey
1926,p.49;Oprescu1927,pp.158-59;Courthion
1947,p.160;Eitnerlgs4a, p. 134,n. 12;Eitner
1955,p.288,n. 28;Eitner1959,p.120;Eitner
1967,pp.7-17,fig.3;Joannides1973,p.667,
n. 1l; Eitner1974,p.451,no. 67;Szczepinska-
Tramer1974, pp.316-17;Grunchec1976,pp.399,
411,nn. 2,3;Berger1978,p.88,as "Wreckage";
Grunchec1978, pp.121-23,no. 221,fig.221,pl.LIV
in color;Gruncheclg7gb, pp. 52-54,fig.so,p.58,
nn- 153-57; Eitner1983, pp.256-59,357,nn. 85,
88,go,p.358,nn. 91, 92,93,98,fig.210.
6. about1822
TheTempest,
PROVENANCE: PossiblyP.J. Dedreux-
Dorcy,Paris,by 1832; Vicomtede Fossez, Paris;
Ambroselli,Paris;S. Kleinbergerand Co. Inc.,
New York,by 1964; NathanChaikin;to The Art
Instituteof Chicago.
1971-72Los Angeles,
EXHIBITIONS:
Detroit,and Philadelphia,p. 161,no. 116,repr.;
1976Paris,no. 37,repr.
REFERENCES: Eitner1967,pp.7-17,
fig. 1;Joachim1974, pp.132-33,no. 65,repr.;
Szczepinska-Tramer 1974,p.313,n. 5,p.315,
fig. g; Grunchec1978,p.122,no. 221(3), fig.221(3)
(attributedto Dedreux-Dorcy);Gruncheclg7gb,
pp.52-54,58,nn. 162,163,fig.54(attributedto
Dedreux-Dorcy);Eitner 1983, p.257,n. 94.
71
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'DyingParis'and the Meaningof His RomanticClassicism."
. "Gericault's MasterDrawings
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. Gericault.Exhib.cat.LosAngeles:LosAngelesCountyMuseumof Art,1971.
Raftof theMedusa.LondonandNewYork:Phaidon,1972.
. Gericault's
. "Gericault'sBlackStandard Bearer."Stanford Museum2 (1973), pp. 3-9.
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. "Reviewof Toutl'oeurrepeintde Gericault, by PhilippeGrunchec." BurlingtonMagazine122
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. Gericault:HisLifeand Work. Ithaca:CornellUniversity Press,1983.
. Essaysandentries.In Gericault. Exhib.cat.Kamakura: Museumof ModernArt,1987.
Eitner,Lorenz,andStevenNash.Gericault, I79I-I824. Exhib.cat.SanFrancisco: TheFineArtsMuseum
of SanFrancisco,California Palaceof the Legionof Honor,1989.
Fierens-Gevaert,Hippolyte, andArthurLaes.Catalogue delapeintureancienne. MuseeRoyaldes
Brussels:
Beaux-Arts de Belgique,1922.
Geiger,Monique,Marguerite Guillaume,andSergeLemoine.DessinsduMuseedesBeaux-Arts deDijon.
Exhib.cat.Paris:Museedu Louvre,1976.
Granville,Pierre."L'Unedes sourcesde Gericaultreveleeparl'identification La
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Revuedu Lourreet desMuseesde France18, no. 3 (1968), pp. 139-46.
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France37, no. 4 (1987), pp. 278-83
Grunchec,Philippe."L'Inventaire posthumede TheodoreGericault(1791-1824)."Bulletinde la Societe
de l'ArtFrancais,1976, pp. 395-420.
de l'Histoire
. L'opera completadi Gericault. Milan:Rizzoli,1978.
. Gericault.Exhib.cat.Rome:VillaMedici,lg7ga.
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. MasterDrawingsby Gericault. Exhib.cat.Washington, D.C.:International Founda-
Exhibitions
tion,1985.
del Guercio,Antonio.Gericault. Milan:Edizioniperil Clubdel Libro,1963.
Harrison,JeffersonC. Nineteenth-Century FrenchArt I. ChryslerMuseumGalleryGuide.Norfolk,Va.:
The Chrysler Museum,1985.
. FrenchPaintings from the Chrysler Museum.Exhib.cat. Norfolk,Va.:The ChryslerMuseum,
1986.
Hashi,Hidebumi.Essaysandentries.In Gericault.Exhib.cat.Kamakura: Museumof ModernArt,1987.
Holme,Bryan,ed. MasterDrawings.NewYorkandLondon:StudioPublications, 1943.
Holt,ElizabethGilmore,comp.anded.FromtheClassicists ArtandArchitecture
to theImpressionists: in the
Century.
Nineteenth A Documentary Historyof Art,vol.3. NewYork:DoubledayandCo.,1966.
Honour,Hugh.Rornanticism. NewYork:Harper& Row,1979.
Hugelshofer,Walter.Dessinset aquarelles francaisdu xIxesiecle.Basel:Les EditionsHolbein,
de maztres
1947.
Huggler,Max. "TwoUnknownLandscapesby Gericault."BurlingtonMagazine96 (August1954),
pp. 234-37-
London:ThamesandHudson,
FrenchDrawingof theIgthCentury.
Huyghe,Rene,andPhilippeJaccottet.
1956.
Ingres,JeanAugusteDominique.Ecritssurl'art.Paris:La JeuneParque,1947.
Joachim,Harold.TheHelenRegenstein Collectionof European Drawings.Chicago:The ArtInstituteof
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the Datingof Gericault's
Joannides,Paul. "Towards Burlington
Lithographs." Magazine115 (October
1973), pp. 666-71
Julia,Isabelle.In FrenchPainting, I774-I830: TheAgeofRevolution. Exhib.cat. Detroit:WayneState
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Jullian,Rene."Gericault et l'Italie."InArtein Europa:Scrittidi storiadell'artein onoredi EdoardoArslan,
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Landon,CharlesPaul.AnnalesduMuseeet de l'Ecolemoderne desBeaux-Arts; Salonde I8I9. Paris,1819.

73
Lebel,Robert."Gericault, ses ambitionsmonumentales et l'inspiration
italienne."L'Arte25 (October-
December1960), pp. 327-54.
Lecarpentier,
CharlesJacquesFranscois. Essaisur le paysagedans lequelon traitedes diversesmethodespour
se conduiredans l'etudede paysage.... Rouen:F.BaudIy,1817.
Lemoine,Serge.DonationGranville:Cataloguedespeintures,dessins,estampesetsculptures.Oeurresrealisees
avant I900, vol. 1. Dijon:Museedes Beaux-Arts de Dijon,1976.
Lochhead,IanJ. The Spectatorand the Landscapein theArt Criticismof Diderotand His Contemporaries.
AnnArbor:UMIResearchPress,1982.
McMordie,ColinP. "TheTraditionof HistoricalLandscapein FrenchArt,1780-1830." Thesis,Oxford
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Marcel,HenIy,comp.anded.Histoiredu paysageen France.Paris:Librairie Renouard, H. Laurens,1908.
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pp. 74-78-
Meier-Graefe,
Julius.Delacrozxund Gericault:Faksimilesnach Werkender beiden Meister.Munich:R.
Piper,19l 9.
Mongan,Agnes.MemorialExhibition:Worksof Artfrom the Collectionof Paul J. Sachs(I 878-I965). Exhib.
cat.Greenwich, Conn.:NewYorkGraphicSociety,1965.
Mongan,Agnes,and PaulJ. Sachs.Drawings in the Fogg Museumof Art;a CriticalCatalogue:Italian,
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"ARevisedDatingforPartof Gericault's
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Artistof ManandBeast."Apollo 107 (June1978), pp. 480-86.

74
 LISTOFEXHIBITIONS

1907Berlin.Gericault.Berlin,GalerieFritzGurlitt,1907.PerDubaut1956.
gog Munich.Empireund Romantik.Munich,GalerieZimmermann, lgog. PerDubaut1956.
Rouen.Millenairenormand.19ll. PerDubaut1956.
1912 St.Petersburg. L'Expositioncentennale:FrenchPainting,I8I2-I9I2. St.Petersburg, Franscais,
L'Institut
. PerDubaut1956.
ParisandRouen.Expositiond'oeurresde Gericault.Paris,HotelJeanCharpentier, April24-May16,
; Rouen,MuseedesBeaux-Arts.
Basel.Dessinsfrancais. 1935.PerDubaut1956.
Paris.Dessinsaquarelles&gouachespar Gericault,I79I-I824. Paris,MauriceGobin,December5-21,
935.
6 Paris.Gros:Ses amis, ses eleves.Paris,PetitPalais,1936.
Paris.Exposition
Gericault: peintreetdessinateur(I7gI-I824).Paris,MM.Bernheim-Jeune, Maylo-2g,
937.
Brooklyn.XIX CenturyFrenchDrawingsfrom the Collectionof Paul J. Sachs. Brooklyn: Brooklyn
Museum,1939.No cataloguepublished.
Cambridge, Mass.FrenchRomanticismof the Eighteen Thirties.Cambridge, Mass.,FoggArtMu-
seum,Harvard University,January16-February 12, 1943.
Boston.A ThousandYearsof LandscapeEastand West:Paintings,Drawings,Prints.Boston,Museumof
FineArts,October24-December9, 1945.
6 Cambridge, Mass.Betweenthe Empires:Gericault,Delacroix,Chasseriau Paintersof the Romantic
Movement.Cambridge, Mass.,FoggArtMuseum,HarvardUniversity, April30-June1, 1946.
Detroit.FrenchDrawingsof Five Centuriesfrom the Collectionof the Fogg Museumof Art, Harvard
University.Detroit,The DetroitInstituteof Arts,Mayls-September30, 1951.
London.TheodoreGericault,I79I-I824. London,Marlborough FineArtsLimited,October-November
952.
NewYork.LandscapeDrawings& Water-Colors: Bruegelto Cezanne.NewYork,ThePierpont Morgan
Library, January31-April1l, 1953.
Winterthur. TheodoreGericault,I79I-I824. Winterthur: Kunstmuseum Winterthur, August30-
November8, 1953.
Paris.Gros,Gericault,Delacroix.Paris,GalerieBernheim-Jeune, openedJanuary9, 1954.
6-57 Portland,Oregon,et al. Paintingsfrom the Collectionof WalterP Chrysler,Jr.Portland: Portland
ArtMuseum,1956.A travelingexhibition,also shownat SeattleArtMuseum;San Francisco,
California Palaceof the Legionof Honor;LosAngelesCountyMuseum;Minneapolis Institute
of Arts;CityArtMuseumof St. Louis;KansasCity,WilliamRockhillNelsonGalleryof Art;
TheDetroitInstituteof Arts;andBoston,Museumof FineArts;March2, lg^6-April14,1957.
8 NewYork.Paintingsfrom PrivateCollections:SummerLoan Exhibition,I958. NewYork,TheMetro-
politanMuseumof Art,summer1958.
descollectionssuisses.Paris,PetitPalais,March-May
Paris.De Gericaulta Matisse:Chefs-d'oeurrefranSais
1959.
1960Dayton,Ohio.FrenchPaintings,I78g-Ig2gfromthe CollectionofWalterP.Chrysler,Jr.Dayton,Ohio,
The DaytonArtInstitute,March25-May22, 1960.
62-63 Charleroi.Gericault:Un Realiste romantique.Charleroi,Palaisdes Beaux-Arts, December8,
62-January6, 1963.
63 Rouen.Gericault:UnRealisteromantique.Rouen,MuseedesBeaux-Arts, Januarylg-March11,1963.
65-66 NewYork.FrenchLandscapePaintersfrom Four Centuries.NewYork,FinchCollegeMuseumof
Art,October20, 1g65-Januaxy 9, 1966.
65-67Cambridge, Mass.,andNewYork.MemorialExhibition:Worksof Artfromthe Collectionof Paul J.
Sachs (I878-I965), Given and Bequeathedto the Fogg Art Museum,HarvardUniversity,Cam-
bridge,Massachusetts.Cambridge, Mass.,FoggArtMuseum,November15, 1g65-Januaxy 15,
66; NewYork,Museumof ModernArt,December19, 1g66-Februaxy 26, 1967.
1966Paris.Delacroixet lespaysagistesromantiques.Paris,MuseeEugeneDelacroix, Maylg-July19,1966.
1967-68 Paris.Vingtans d'acquisitiondu Musee du Lourre, I947-I967. Paris,Orangeriedes Tuileries,
December16,1g67-March1968.
68-69 MoscowandLeningrad. Le Romantisme Expositiondesoeurresappartenant
dansla peinturefrancaise:
aux museesde France.Moscow,PushkinMuseum,Decemberlg68-Januaty1969;Leningrad,
TheHermitage, throughApril1969.
-72 LosAngeles,Detroit,andPhiladelphia. Gericault.LosAngelesCountyMuseumof Art,October

75
 Opposite:Detailof thebillforthe
threecanvasesfortheTimesof Day
deliveredto Gericault's
studioon
Julylo, August4, andAugust18
(seep. 18)

l2-December12, 1971;The DetroitInstituteof Arts,January23-March7, 1972;Philadelphia

Museumof Art,March3o-May 14, 1972.
-75 Paris,Detroit,andNewYork.FrenchPainting, I774-I830: TheAge of Revolution.Paris,Grand
Palais,November16, 1g74-February 3, 1975;The DetroitInstituteof Arts,Marchs-May 4,
; NewYork,The Metropolitan Museumof Art,Junel2-September7, 1975.
NewYork.Natureas Scene:FrenchLandscapePaintzngfromPoussinto Bonnard.NewYork, Wildenstein,
October2g-December6, 1975.
Paris.Delacroz*et les peintresde la nature.Paris,MuseeEugeneDelacroix,June24-December25,
. No cataloguepublished.
6 Hamburg. WilliamTurnerunddieLandschaftseinerZeit. Hamburger Kunsthalle, Maylg-July18,1976.
6 Paris.Dessinsdu Museede Beaux-Artsde Dijon. Paris,Museedu Louvre,February13-May3, 1976.
6-77 Paris.Dessinsfrancaisde l 'ArtInstitutede Chicagode Watteaua Picasso:LxIIeexpositiondu Cabinet
des dessins.Paris,Museedu Louvre,October15, 1g76-January 17,1977.
London.NineteenthCenturyFrenchDrawings. London,Hazlitt,Gooden& Fox,June 13-July14,
1979.
1979-80Rome.Gericault.Rome,VillaMedici,Novemberlg7g-January1980.
1980-81SydneyandMelbourne. FrenchPaintir7g: TheRevolutionazyDecades,I760-I830. Sydney,ArtGal-
leryof NewSouthWales,October17-November23, 1980;Melbourne, NationalGalleryofVicto-
ria,December17,lg80-February15, 1981.
84 Mareq-en-Baroeul andDieppe.Oragesdesires,ou le paroxysmedansla traductionde la nature.Mareq-
en-Baroeul,FondationSeptentrion, March3-June 3, 1984;Chateau-Musee de Dieppe,June
lo-September2, 1984.
85-86 New York,San Diego,and Houston.MasterDrawings by Gericault.New York,The Pierpont
MorganLibrary, June7-July31,1985;SanDiegoMuseumof Art,August31-October20, 1985;
Houston,The Museumof FineArts,November9, 1g85-January 5, 1986.
86-87 RaleighandBirrningham, FrenchPaintingsfromThe ChryslerMuseum. Raleigh,NorthCaro-
lina Museumof Art,May31-September14, 1986;Birmingham Museumof Art,November6,
86-January18, 1987.
87-88 Kamakura,Kyoto,and Fukuoka.Gericault. Kamakura,Museumof ModernArt, October
31-December20, 1987;Kyoto,NationalMuseumof ModernArt,February2-March21, 1988;
FukuokaArtMuseum,March24-April24, 1988.
89 SanFrancisco.Gericault,I79I-I824. SanFrancisco,TheFineArtsMuseumof SanFrancisco,Cali-
forniaPalaceof the Legionof Honor,January28-March26, 1989.
ggo-9l NewYorkandGeneva.VictorHugoand theRomanticVision:Drawingsand Watercolors. NewYork,
JanKrugier Gallery,May4-July27,lggo;Geneva,GalerieJanKrugier, January-February 199l.

76
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