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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.TheMetropolitan 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 clothboundreprintset or as individualyearlyvolumesfromAyerCompanyPublishers,Inc., ,o Northwestern 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 greatauthorityimmediately 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 previously unknownfourth 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 Paintings,hasspentthelastyearin thepursuitof information whetherit be in provincial archivesorin thememoriesof privatecollectors thatmightshedlighton these gloriousbutenigrnatic pictures.He revealsthefruitsof hisresearchin thisBulletin, whichsetsforththehistoryof theselandscapes,aswellas thatof Gericault's briefand tempestuouscareer.

Philippede Montebello Director

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Acknowledgments

I commencedthisstudy,"CharlesClementconfessedatthebeginningof "Trembling, life andwork his excellentbiographyandcatalogueraisonneof Gericault's in withcorrections, (publishedin serialformin the 1860S andthenrepublished, memory,fastidiousnotes,andthe reminiscences witha remarkable 1879). Equipped of a numberof artists,stillliving,whoknewGericaultintimately,Clementwas eminentlysuitedto histask.If he trembled,writingonlyfiftyyearsafterGericault's death,novicessuchas myself,writingone hundredyearslater,canonlyquake.No artistof Gericault'sstatureremainsas enigmatic;no oeuvre, nineteenth-century despiteits no chronology, despiteits smallsize,so rifewithproblemsof attribution; when precisely not know We still do documented. so inadequately span, too-brief seriesof portraitsof the insane,of Gericaultpaintedhis remarkable whichfilveoutof ten arelost,nordowe knowwithcertaintywhyhe paintedhis paintingsof the studiesof severedlimbsandheads,perhapsthe mostextraordinary nineteenthcentury.Despitea yearof intensiveresearchanda numberof promising leads,we stilldo notknowwhyorforwhomGericaultpaintedthethreeenormous landscapesthatarethe subjectof thisstudy,norwhetherhe actuallycompletedthis series,theTimesof Day,witha fourthpanelthatlogicallywouldbe Nzght.But, of the individualsnamedbelow,we arenow thanksto the unsparingparticipation muchcloserto a glimpseof the elusivetruth.Althougha definitiveanswerto the questionof the identityof the originalpatronorthe natureof the commission(ifthere wasone)wasnotforthcoming(andperhapsneverwillbe),at leastwe no longerneed regardingthe historyof thesepaintings be blindedbythepreviouslyheldassumptions forin thelastfewmonthsalmosteverynotionhasbeenprovedfalse. Firstthanksgo to theTrusteesof the Museum,the director,Philippede Montebello,andEverettFahy,JohnPope-HennessyChairmanof the Departmentof EuropeanPaintings,fortheirsupportof the acquisitionof the magnificentlandscape thatthisexhibitionandpublicationcelebrate.Theexhibitionwouldnothavebeen andChristoph of HubertusvonSonnenburg possiblewithoutthegenerousparticipation Heilmann,directorandcuratorof the NeuePinakothek,Munich,andTherese BurolletandAlainDaguerrede Hureaux,directorandcuratorof the Museedu Petit Palais,Paris.Withoutthe supportof MahrukhTarapor,assistantdirectorof the Museum,quitesimplytherewouldbe no exhibition.Sincerethanksare Metropolitan extendedto the curatorsandcollectorswhogenerouslysharedworksin theircare. DianeUprightandStefanieMaisonarethankedfortheirhelpin securingloans. A greatnumberof individualslistenedpatientlywhileI endlesslyrehearsed heroiclandscapes,andeach the historyof Gericault's the mysteriessurrounding insight,orinformation to the something bywayof observation, contributed outcomepresentedon thesepages.Amongthe mostpatientwereJeanSutherland Boggs,PhilipConisbee,PeterGalassi,MichaelPantazzi,JosephRishel,andJeremy Strick.In France,SylvainBellenger,HenriLoyrette,RegisMichel,andAnne DavidKiehland couldnothavebeenmorehelpful.Atthe Metropolitan, Rocquebert Etienne At Sotheby's, questions. innumerable JamesParkerexpertlyanswered Breton,BenjaminDollar,NancyHarrison,andScottSchaeferall assistedwillingly. AyWhangHsiaof Wildenstein& Co.,Inc.,liberallysharedhercopiousfilles. generouswith WheelockWhitney,a longtimestudentof Gericault,wasexceptionally

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AlexandreColin (French,1798-1875) Gericault,aftera Portrait of I8I6 (detail), 1824 Lithograph, The MetropolitanMuseumof Art, HarrisBrisbaneDick Fund, 1926, 26.75.3

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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 thisexhibitionandcomposedtheprovenances, 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.

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

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Introduction

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

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"Wheredoesthatcomefrom?" exclaimedJacquesLouisDavid(1748-1825), the at mostcelebratedpainterof his day,on seeingGericault'sChargingChasseur the Salonof 1812, "Idon'trecognizethetouch."Ofcoursehe couldnothave.The Chasseur (fig.1)wasthe firstworkeverexhibitedbyJeanLouisAndreTheodore pupilofPierreNarcisseGuerin(1774-1833), Gericault (1791-1824), thetwenty-year-old a Neoclassicalpainterwhohadbeena studentof David's.Withoutlookingin his hadbeen catalogue,Davidcouldnothaveevenknownthatthe authorof the Chasseur enrolledin Guerin'sstudio,sinceit betrayednothingof the master'srestrainedcolor, wasa brilliantamalfinish.The Chasseur andporcelainlike immobilecompositions, militanyimageryof Baron gamof the Baroquebrioof Rubensandthepropagandistic officialpainterofbattles,andofCarleVernet(1758-1836), Gros(1771-1835), Napoleon's firstteacher.Theyoungpainter's a specialistin suchsceneswhohadbeenGericault's declarationof independencefromhis properNeoclassicaltrainingwasa calculated proportions risk,butit wasworthtaking.Thefaultsof drawingandthe exaggerated wereexcusedbyno lessthanBaronVivantDenon,theinfluentialdirectorof the MuseeNapoleon,as the Louvrewasthencalled.Carriedbythe dashof its patriotic wonGericaulta goldmedal.However,thepromiseof his first imagery,the Chasseur picturewasnotfulfilled atleastas faras the criticswereconcerned byhis second Cuirassier (lg. 2), shownin 1814. Itwastoo easyto Salonsubmission,TheWounded an analogyto thehumiliationsof see in the anguishedfaceof theretreatingofElcer France'srecentdefeatandpresentpoliticalsituation.(PariswasoccupiedbyBritish andRussiantroops,andthe newgovernmentof LouisXVIII existedattheirpleasure.) in itsmelancholicmoodandasymmetric Muchmoredaringthanthe Chasseur the Cuirassier wasmostoftencriticized,oddlyenough,notforthese composition, 8

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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

characteristics butforits roughbrushwork andlackof finish.Profoundlydisappointed,Gericaultredoubledhis artstudiesdespitehis servicein the king'smusketeers.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 incorrigible butpathetichopewhenfacedwithnature'sdestructive force.Adopting David'sheroicfiguralstylein his challengeto theNeoclassicalbeliefin theunequivocalsuperiority 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's studiesof 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 He observedthat"throughit one argumentforBeautyas it oughtto be understood." thatvigor, of the picturesque, power that lacked, always David that evetything sees (pp.575, theater" art of the to the is thatdaringwhichis to paintingwhatthe vtscomica 574).Indeed,byexploringextremestatesof emotion,on the one hand,andusing motifsof everydaylife,on the other,andwithhisverymodernambitionto paint withthe colorand subjectscombiningthe grandeurof Neoclassicism contemporary energyof Baroqueart,Gericaultsparkedthe lampthatilluminatedthe careerof the greatDelacroix,aswell as of a hostof so-calledminormasters HoraceVernet,Ary prematuredeath Scheffer,EugeneIsabey,LeonCogniet.In theyearsafterGericault's own butGericault's in 1824,thesepainterswerethoughtto epitomizeRomanticism; wasneverobscured.In 1828ArnoldSchefferwrotethat"Gericaultis the contribution of strong headof thisnewschoolthatproposesforits goalthe faithfulrepresentation andtouchingemotions,whichrightlyorwronglyis calledthe RomanticSchool" (p.196).Gericaultwas,as TheophileGautierwrotejusta generationafterhis death,a longbeforeRomanticism." "Romanticist Gericaultappliedthe samevigor,daring,andpowerof the picturesque seriesof landscapes evidentin his figurepaintingsto theTimesof Day,a remarkable his dissecting-room made he when period executedin summerandautumn1818,the the Superficially, Medusa. stilllifes(seefig.1oe,p. 51)andbeganworkon TheRaftof the 11) (no. Evening and 4-6) Morning(no.5), Noon (no.10), threelandscapes(f41gs. areno morethandecoration,largeassemblagesof familiarmotifsof oldItaly, evocativeenoughto furnisha roomwiththe strongperfumeof nostalgia.Intheir compositequality,theyanticipatethewallpapermuralsthatcameintovoguein the 7),justafterGericault'sdeath.Onotherlevels,however,theyare mid-1820s(seefWlg. of theTimesof Day,a Theyconstituteone of the lastrepresentations extraordinary. conceit,beforeMonet'sverydifferentserialpaintingsof populareighteenth-century the 18gosonthe sametheme.Theyareperhapsthe grandestexamplesof the genre France(1814-30),andin theircomplete of heroiclandscapepaintedin Restoration rejectionof naturalismandtheirfrankappealto the sensibilityof the sublime,they arevirtuallyuniqueexamplesof FrenchRomanticlandscapes.EssentiallyanAnglo10

Figures4-6 The Times of Day, 1818 Each panel:oil on canvas, x 86l/4in. approx.98X/2 (250 x 219 cm) Morning:Landscapewith Fishennen(no. 5) Munich,Neue Pinakothek Noon:Landscapewitha Roman Tomb(no. lo) Paris,Musee du Petit Palais Evening:Landscapewithan Aqueduct

(no.

11)

The MetropolitanMuseumof Art See also pp. 43, 48, 52

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 thedefWlnitions of twodistincttypesof landscape paintingthatweremaintainedbyacademicians andcriticsthroughthe earlynineteenthcentury,paysageheroiqueandpaysagechampetre.ThefWlrst wasa high-minded moralartidentifWled withPoussin,exemplifWled, forinstance,bythe FourSeasons (fi1gs. 8-1 1);the seconda lessrigorous,bucolic,andnaturalistic styleidentif41ed with Claude.Bothtypeswereconsideredinherentlyinferiorto historypainting,in which greatideaswererhetorically expressedbynoblefWlgures. Nevertheless, heroiclandscaperequiredbothdisciplineandgenius:Itwas,accordingto de Piles,"Acompositionof 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 particular abouttheworksof 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

is in anysortterrible. . .oroperatesin a manner followedEdmundBurke:"Whatever analogousto terror,is a sourceof the sublime."TwoyearsafterBurke'sPhilosophical EnquiryintotheOriginof OurIdeasof theSublimeandBeautifulappearedin French, Diderotwrotein his reviewof theVernetsshownatthe 1767Salon,"allthatstunsthe soul,allthatimprintsa feelingof terror,leadsto the sublime"(Salons,III, p. 165,). of the (fig.12), withits convincingrepresentation lateShipwreck Vernet'sspectacular threatof a watetydeath,is a goodexampleof the kindof paintingthattransported Diderotto a sublimeexperience. To stunthe soul,to stirthe mindwasthe highestambitionanyartistcould have,andbythe endof the eighteenthcentutymostartistsandtheoristsagreedthat landscapepainterscouldachievethisgoal,butonlyunderthe properconditions. the principalFrenchlandscapistattheturn PierreHenriValenciennes(175,0-1819), currentthinkingonlandscapein his 1799-1800 ofthenineteenthcentury,summarized andAdvicetoa Student.He followedde Piles's andReJ7ections ElementsofPerspective andpaysageheroique(whichhe calledhistorique ofpaysagechampetre categorization is paintedwiththe to makean analogyto histozypainting),notingthat"theElrst feelingof color,the secondwiththe colorof feeling"(quotedin McMordie1976,p. of naturalist wasconcernedthattheincreasingpopularity 65,).However,Valenciennes 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

Figures8-11 NicolasPoussin (French,1594-166S) The Four Seasons, 1660-64 Each panel:oiI on canvas,46l/2x 63 in. (118x 160cm) Springor TheEarthlyParadise SummerorRuthand Boaz Autumnor TheSpieswith Grapes from thePromisedLand Winteror TheDel7lge Paris,Musee du Louvre, Invs.7303, 73째4, 73째Sv7306

Figure 12 ClaudeJosephVernet (French,1714-1789) Shipwreck,1787 Oil on canvas,45 x 595/8in. (151.4x 114.3cm) Hartford,The Wadsworth Atheneum,The Ella Gallup Sumnerand MaxyCatlinSumner Collection

thatNatureadornedwithwealthof imagination,whichonlygeniuscanconceiveand represent"(p.377).In otherwords,one shouldnotpermitvisionsof unidealized to contemnature,orreality,to sullythe canvas.This,however,wasin contradiction porarypractice.Atthe endof the eighteenthcentury,moreandmorepainterstrekked intonatureandbroughtbackvibrantsketchesthattheythenusedas modelsfor forexample,neverexhibitedhis elementsof theiridealviews.AlthoughValenciennes, exquisiteoil sketches,a realistapproachto landscapecanbe detectedin themanner in whichhe treatedindividualmotifs. thatwhileheroiclandscapewasheldin Beno1thasdemonstrated Franbcois higheresteembytheoristsatthebeginningof the nineteenthcentury,naturalistor realistlandscapewasmorepopularlypracticedandadmiredatthistime.Between 1791and1814,one quarterof thepaintingsexhibitedatthe Salonswerelandscapes. Before1806,composed,or"ideal,"landscapesconstitutedhalfof the landscapes landscapes,the otherhalf.Afterward, views,or"portrait" shown,andtopographical thebalancetippedagainsttheideal.Bythefallof the Empire,heroiclandscapes comprisedon averageonlyone outof onehundredsubmissionsto the Salon.In an pressedthefineartsacademyto thistrend,thegovernment attemptto countermand theirstudies,likethoseof so that createa Prixde Romeforlandscapepainters of Italy.The historypainters,couldbe inspiredbythemonumentsandcountryside

Figure 13 PierreHenriValenciennes (French,1750-1819) 1787 TheAncientCityofAgrigento, Oil on canvas,43l/, x 645/8in. (llOX

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de Quincy,resistedatf1rstin partbecausehe secretaryof the academy,Quatremere soughtto maintainthe priorityof historypaintingoverlandscapepaintingandin part affairs(seeMcMordie in theacademy's interference becausehe resentedgovernmental 1976).He relentedin 1817,butnaturalismhadalreadyinfiltratedeventhemost rigorouslyclassicallandscapes.Valenciennesandhis followersassembledtheir fromsketchesmadedirectlyfromnatureandimbued idealizedcompositions withpalpablyrealisticatmosphere(seefig. 13). theircompositions Gericaulttooka completelydifferentcourse.HisTimesof Dayareconstructednotfromnaturestudiesbutfromthe studyof greatart.In a purely motifsfromtheworksof otherpaintersand intellectualmanner,he appropriated of deE1nition to the contemporary conformed that compositions arrangedthemin by treatise 1817 in an described as of landscape, category heroiclandscape,thehighest constitutes "All that (1787-1877),a minorpainterandessayist: C. J. F.Lecarpentier the compositionof thesepaintingsmustbe at oncegrand,noble,andsimple.There places,eitheras the in the appropriate shouldbe somegoodpiecesof architecture imaginationof thepainterwouldrepresentthemin theiroriginalstateof splendor, assignedto thembythe Greeks withtheirbeautifulformsandtheirgoodproportions andRomans,oras the artistwouldcontenthimselfto imitatethevestigesthatescaped theravagesof revolutionsorthe longseriesof centuriespast"(p.59).Intheory, Timesof Daywouldevenhavesatisfiedthe academy'scriteriaforgreat Gericault's scaleandobviousquotations heroiclandscapes,but,in fact,theirdisproportionate fromearlierpaintingswouldhaveshockedthem. realismof thenaturalistic Rejectingcompletelythe sweet,atmospheric 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 Timesof Day.Foranalogousworks,onemustturnto the reRectedin Gericault's byforeignersin Italy,the centerof the early landscapesproducedcontemporaneously revivalof heroiclandscape:artistssuchas the GermanJosef nineteenth-century 16, AntonKoch(1768-1839)ortheAmericanWashingtonAllston(1779-1843)(fi1gS. of nature, elements realistic more reflected vision panoramic 17).Tobe sure,Koch's 14

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whileAllston'salludedto theimaginaryworldsof Fuseli,Blake,andEnglishpoets, butbothpainters'worksareimbuedwiththe samestrongessenceof Italy notthe monuItalythatClaudesawbathedin light,butratherthe Italyof Michelangelo's mountains depicted in the mentalSistineChapelandof the blastedtreesandfantastic Dughets,Rosas,andPoussinsin theRomanpicturegalleries.Beforethe discoveryof aninvoiceforthe canvasesthatestablishedthe dateof theTimesof Dayas autumnto winter1818,scholarsdebatedwhetherGericaultpaintedthembeforeorafterhis trip actualexperienceof to Italyin 1816-17.True,thepicturesdonotconveyGericault's theItaliancountryside-one scholarevensuggestedthatthe artistcouldnothave oncehe hadseenthem butit is unlikelythathe paintedthe sitesso inaccurately wouldhaveconceivedworksin thegenreof heroiclandscapewithouthavingbeento firststudiesforlandscapepanels(fig.14), Rome.Onehasonlyto compareGericault's probablyexecutedbeforehe leftforItaly,to thethreeknowncanvasesof theTimesof Day(nos.5, 10,11),paintedafterhe returned,to see a cleardifferencein approach. bucolic Thisearlywatercolor, althoughsomewhatcontrived,showsan attracti-ve of lightsanddarks,wouldmakea landscapethat,withits agreeabledistribution 15

handsomedecoration.No ideais conveyed;he givesinsteada pleasantprospect.The Timesof Day,to the contrary, althoughsuperficially decorative,areat oncefarmore ambitiousandunsettlingin theirmood.Theobserver,likethe figuresin the landscapes,is overwhelmed. One'srelationship to natureis calledintoquestion,andthe mindracesas Gericault's visionis checkedagainstpersonalexperience. The enormoussizeof the Timesof Day,approximately eightbysevenand one-halffeet,is one of the mostsignificantfeaturesof the pictures.Wecannotknow whetherthe dimensionsweredeterminedbythe specifications of a commission or whethertheyarea statementbyGericaulton the importance he attachedto them. Theirsizeis surpassedin his oeuvrebyjustthreeof the fourpaintings(onenowlost) thathe exhibitedpubliclyduringhis brieflife,thevastRaft, The ChargingChasseur, andThe WoundedCuirassier the lasttwobeingonlyslightlylargerthantheTimesof Day.Thesepaintingswereall criticizedforbeingtoo largeandfornotconformingto 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,andbigcompositionscarriedrisksthattheywereunwillingto 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

Figures 18-21 LouisJacquesCathelin (French,1739-1804) afterClaudeJosephVernet (French,1714-1789) The Times of Day Eachplate:etchingandengraving, 175/8x 223/8in. (44.7 x 56.9 cm) Morning Noon Evening Night The MetropolitanMuseumof Art, HarrisBrisbaneDick Fund, 1953, 53 600-1674,1673, 1672, 1671

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,morepronouncedoppositions,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 descriptionsof setsof theTimesof Day,oneimmediatelyrecognizesthatin his pictures Gericaultcloselyconformedto theseconventions. Althoughscholarshavedebated the subjectsof Gericault's largelandscapes,it cannowbe confidentlystatedthatthe motifof fishermensettingoutandthe cool,graylightidentifythe Munichpictureas Morning;thethunderstorm andharshblueskyestablishthe Parispictureas Noon; andthe leisurelyswimmersand"burninghorizon"indicatethe NewYorkpictureto be Evening.

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Gericault'ssetof theTimesof Daywasvirtuallyuniquein Restoration France.Why didhe paintthem?Mostof his picturesweremadeeitherforexhibitionorforthe artist'sinstructionandpleasure.However,thepeculiarproportions, largescale,and identicalsizeof the canvasesof theTimesof Dayannouncethattheyconstitutea suite andthattheyweremeantto hangtogether,perhapsin a specificplace.If one 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.Miraculously,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 thirtyyearslater,when,on September8, 1848, a BaronDesazard,livingat 14 ruede la Rochefoucault, offeredto sellMorningto the Louvre(Grunchec1g7ga,p. 220). The paintingwasstillforsalein March1850, whenthe artistEugeneLouisIsabeywrote the directorof theLouvreto recommendthepurchase,forfivethousandfrancs,of "a rarething,beautifulin itself,andperhapsthe onlylandscapebyGericault"(Archives duLouvreet desMuseesNationaux,P5 1850 mars).Thedirectorrespondedthathis budgetfortheyearhadalreadybeenexhaustedbythepurchaseof a Hobbema,a Velazquez,andotherworksbymastersnotyetrepresented in the museum. Morningthenreappeared in 1859, whenClementsawit attheposthumous sale(seefig. 23) ofthe collectionof AryScheffer(1795-1858), a Romanticpainterand 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's rueChaptalapartment 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-five years:"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 eighteenthcentury,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,carriagesandplants" 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 purchasedin 1886by the Duc and Duchesse de Dino

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 grandfather wasa goodfriendof JulesFeral,the expertwhoorganizedthe 1903 sale.ThusFeralcouldhavebrought Noon andEveningto his attention.Andwellhe might,becauseGericault's assemblageof fabricatedRomanruinsreflectedthe samespiritthatguidedSaint-Leonat Jeurre,whichevensporteda crenellatedtowerlikethatin Noon (figs.25, 26). Louis de Saint-Leonhasindicatedthatthereis onlyone roomatJeurrebigenoughto accommodate thetwolargelandscapes,the SalonRose,wherehe remembered that his grandfather hadinstalledlarge,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's nephewPaul 23

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in 1889, the housewassoldandcompletelyrebuilt.The Caruelde Saint-Martin, adewaspushedforwardten feet,andthe layoutof the roomschanged.A courtfacs detaileddescriptionof thepropertyin 1802 givesa goodindicationof the disposition to determine of thehouseas Gericaultwouldhaveknownit, butit is stilldiffilcult wherethethreeorfourpanelsof theTimesof Daycouldhavebeenplaced.No single roomwouldhavebeenlargeenoughforthreeormorepanels althoughboththe salonandthe diningroomcouldhaveheldtwo. Theinventorymadeuponthe deathof the artist'sunclein 1847 reveals thatthe Caruelshadsomeforty-fourpaintingsandfifty-oddframedengravingsat in the Chesnay.(Nopicturesarelistedas havingbeenin theirParisapartments whichtheyacquiredin 1821.) so-calledHotelCambaceresat 23 ruede l'Universite, worksarenotmentionedamongthem,butthe collectionincludeda pair Gericault's twopaintingsbyRobertLefevre,anda painting of landscapesbyValenciennes, to Boucher.(Theomissionof Gericaultis curious,sincewe knowfroma attributed letterwrittenbyClementin the mid-nineteenthcenturythatthe artist'saunt,who oil sketches,andalbumsof drawingsbyhimin her liveduntil1875, keptwatercolors, theywouldhavebeeninventoried,as were,for room.Undernormalcircumstances example,the oldmastersshe broughtin herdowry.)Onelot,no. 141, is describedas thefourtimesof day 300 francs"(Bazinlg87a,p. 106). "fourpaintingsrepresenting wasappraisedat No artistis givenbutthevaluationis fairlyhigh.OneValenciennes Timesof Dayarenot signed,couldthey 250 francs,the otherat 200. SinceGericault's be thepictureslistedas lot 141? Probablynot,forthe one factknownaboutthe heroic landscapesis thatthe canvaseson whichGericaultpaintedthemweredeliveredin JulyandAugust1818. Thethird,andlast,canvaswasdeliveredon August18, three gavebirthto Gericault'sbaby.Nothingis daysbeforeMmeCaruelde Saint-Martin relationswithhis auntafterthe birthof theirchild,butit is knownof Gericault's thatthe artist'sunclewouldhavepermittedthe picturesto be virtuallyinconceivable installedin his houseafterthe eventsof summer1818. CouldGericault,overcomeby

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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 ThomasHope (English,1?69-l83l) DrawingRoomwith Oriental Landscapes Plate 6 fromHouseholdFurniture and InterzorDecoration Executed fromDeszgnsby ThomasHope London:Longrnan,Hurst,Rees, and Orme,180? Hope'sdesign for a roomshows how sets of landscapescouldbe integratedinto a Neoclassical decor.

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Arthistorianshavespeculatedon the existenceof a fourthlandscapeeversincethe threeknownpanelsreappeared in the 1950S.However,therewasno evidenceto confirmthattherehadeverbeenan additionalpictureuntillastyear,whenNatLeeb revealedthe drawingthathe hadreputedlymadeof it in 1937.Accordingto Leeb,he madedrawingsin lieu of photographing all fourpanelsof theTimesof Day (figs.29-32), justbeforehe boughtthemfromthe Comtede Saint-Leon. 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

Figures 29-32 Drawingsof Morning(no. 5), Noon (no. lo), Evening(no. 1l), and the alleged fourthpicture depictingNight, which Nat Leeb made reputedlyin 1937, shortly beforehe purchasedthe set.

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Figure34 Sheetof Studzes(recto) Ink on paper,71/8x gll/l6in. (18x 24.7 cm) Stockholm,Nationalmuseum, NMH 285/1968

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 particular sourceforNzght.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 attribution of 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

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oeuvrecanonlybe speculative. to otherworksin oroutof Gericault's LeebquitParisandwentinto Fearingpersecutionduringthe Occupation, hidingin LyonsandMarseilles.Whenhe returnedto the capitalafterthewar,Leeb saidthathe foundone of thefourpanelsof theTimesof Day,Night, e xtensivelydaminvolveda virtually agedbya leakin thewarehousein whichit waskept.Restoration 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 thanthe awkward andarethusmoreaccomplished orreproductions photographs thatall renditionof Nzght,forwhichthereis no photograph yet Leebmain-tained

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-knowneighteenthcentun depictionsof a shipwreck, the paintingshowsthe drowned Virginiemournedby her lover, Paul, as describedin the eponymous novel.

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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. BullittwasthehighlyvisibleAmericanambassadorin Parisatthetime.However,Bullittwasnotmarriedwhilehe servedin Paris. OnecannotconfirmLeeb'sstatementthatNightwasexportedto Brazil. LadislasBein,to whomLeeballegedlysoldtheworkin 1949,wasnotincludedin any of the businessdirectories forthatyear.His officeat 8 rueDrouotis fXlrst listedin 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

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

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he obviouslyknew the Gericaultliteratureverywell, in additionto the literatureon Theodore Chasseriau(1819-18$6), a Romanticpainterwho combined elements of Leeb copied the figuresin with Delacroix'simageny.In all probabilitEy, Ingres'sstEyle his Nightfrom a sketchin the Louvre (see fig. 39) that reproducesa compositionof a of about 1835. (This painting,long lost, has paintingby Chasseriau,Shipwrecked, only recentlyreappearedin a Paris privatecollection.)The relationshipof the 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, 4o, 41) indicate that Gericault two previouslyunpublisheddrawingsin Bayonne (fWlgs. 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

Figure40 Barkin a StormyLandscape (Noon) Gouacheandwatercoloron paper, 41/8 X 57/8 in. (lo. x 14.9 cm) Bayonne,Musee Bonnat, Inv.713R

Figure41 PortScene(Night) Gouacheandwatercoloron paper, 42/sxs7/sin. (10.5X14.gem) Bayonne,Musee Bonnat, Inv.713V

fWlshermen's barkandthetreesof 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 cornpleting the 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.

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 GrandChesnay,the countryhouse of Gericault's maternaluncle, Jean-BaptisteCaruel (17571847),latercalled Caruelde Saint-Martin. Caruel'ssecond wife, Alexandrine-Modeste de Saint-Martin(1785-1875), was twentyeightyears youngerthan her husbandand six years olderthan Gericault.She broughtconsiderablewealth, 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 GrandChesnayand neighboringVersailles.Since otherpages show newbornkids, it would seem that the sketchbookwas used at GrandChesnayin the late springor summer,but it is not knownin which year.The Caruels stayedat Grand-Chesnayfrequentlyafter 1813,when the artist'suncle became mayor of the village. Gericault,a memberof the king'smusketeersfrom 1814to 1816,was garrisonednearbyat Versaillesin spring1815. The followingspring,he preparedfor the Prix de Rome competitionin Paris,but he could easily have escapedto Grand-Chesnay at a moment'snotice.As will be demonstrated, there is good reasonto believe that this portionof the sketchbookwas used in spring 816. On both sides of this sheet Gericault sketchedideas for compositionsin the grand mannerthat included game or exotic fowl. Somewhatamateurishly,he evokespaintings by Oudry,Desportes,Hondecouter,and the seventeenth-centuryDutch game painters, but withoutreferringto a knownwork. (His copies of similarpaintingsby Pieter Boel and

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Deshayswere perhapsdone concurrently.)On anothersheet in the album are strangely artlessdrawingsof fowl relatingto severaloil sketchesof barnyardanimalsthat seem to have been made at aboutthe same time. On the recto is a landscapewith large trees in the foregroundcomposedin a mannerthat conformspreciselyto the definition of the picturesqueas formulatedby the eighteenth-centuryEnglish writerWilliam Gilpin a compositionrepeatedon folio 58. Gericaultdid not go on to paint any pictures using the homely picketgate, but seems insteadto have developedhis ideas in terms of tall and narrowdecorativepanels of the kind thatwere often fittedinto the boiserie of French eighteenth-centuryrooms. On the verso Gericaulteliminatedanimalsfrom the verticalcompositionsand focused on assemblagesof landscapemotifs in an Italianatestyle.Additionalsketchesfor these narrowpanels appearon folio 42 recto of the same sketchbookand on a separatesheet

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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 alternativecompositions: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

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 eliminatedbeforethe 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 overthe sketchof Paris, and thus cannotdate beforeMarch 1816.LorenzEitnerdatedthe sketchbookand relateddrawingsto about 1814,but ChristopherSells, withoutreferring to the landscapedrawings,has recentlysuggested that this portionof the Chicagoalbum datesto 1817-18. The laterdate would place 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. Furthermore, 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 enterprisewhich 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

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 outstretchedarm, firstused in the Bayonne drawings(figs. la, lb), reappearsin the foregroundof Evening:Landscapewith an Agueduct(no. 1l). Gericaultmade a highly finisheddrawingfrom a live model in this pose (fig. 1C). Dated by most scholarsto 1816, its relationshipto the decorativelandscape studies or to the Times of Day has not previouslybeen noticed.

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WITH A STUDIES FOR ACOMPOSITION BOATING PARTY ANDFORVARIOUS 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

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On the versoof this sheet the artistmade what seem to be the firstsketchesfor a compositionwith a musicalboatingparty. Looselybased on a paintingin the Louvre attributedin Gericault'sdayto Annibale Carracci(fig. 2a), the drawingshowswomen serenadedby a lutenistin Renaissancecostume. Their gondolais propelledby a polewieldingboatman,whose energeticpose characteristicallypreoccupiedthe artist.Over a dozenalternativesforthis figurewere drawn on two sheets now in the Musee Bonnat, Bayonne(inv.nos. 2085, 2086); some of those sketchesmay also relateto a similar figurein a watercolor,Bark in a Stormy Landscape,also in the Musee Bonnat(see p. 32). The same boatingpartyas that seen here is more clearlydrawnon the versoof folio 49 of the Chicagoalbum (fig. 2b),where one woman is accompaniedby two com-

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panions.The two wash landscapesketches on folio 48 versomay be the artist'sideas for the sylvansettingwhereinhe would place the boatingparty. In 1954,when Eitnerpublishedthe firstscholarlyarticleon the landscapesnow in Parisand New York,he recognizedthat the germof the Parispicture,Noon:Landscape witha RomanTomb(no. 10),may reside in these sketchesof the boatingparty.In a fascinatingtwist,Gericaultkept the boat in Noonbut canceledthe party.The festivemood of the troubadourcostumepiece becomes forebodingin the painting,and the serenaded woman is accompaniedby a child as well as a man, who seeks pressinglyto boardthe boat as if to be ferriedacrossthe river.A sense of urgencyreplacesthe timeless idyll of the drawing.

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 analogousmanner,albeit reversed.In his largc)landscapesGericaultobviouslywished to recallthe traditionof the composedlandscape in the grand mannerto which Annibale had made such a significantcontributionand which his brotherAgostinohad popularized throughengravings.But Gericault,appropriatingpast artwithoutapology,made his worksmodernwith a dramaticshift in mood and scale. The recto of this sheet presentsa kind of catalogueof Gericault'songoing projects,forwhich there are many sketches amongthe pages of this sectionof the Chicago album.They have been identifiedby Eitner for as, fromthe top left:an equestrianlSlgure one of the paintingsof the trumpeterof the Polish lancers;a Mamlukrider;Napoleon on horseback;a cavalrybattle;and Xerxesattackedby 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 on the recto, such as that for the trumpeterof the Polishlancers,maydateto afterGericault's returnfromItalyin late 1817.Christopher Sells dates this portionof the Chicago album, the projectedcompositionsof Polish lancers,

and the cavalrybattleto 18 17- 18. However, it seems likelythat Gericaultworkedon his first,unrealizedprojectof decorativelandscapes in spring1816(see no. 1).If this suppositionis correct,then the sketchesfor the boatingpartyon the versomay date to thatyear;otherwise,they would have been made upon Gericault'sreturnfromItaly.

Figure 2a GiovanniBattistaViola (Italian,1576-1662)

ontheWater Concert Oil on canvas,15i, x 20l/2in. (40 x 52 cm) Pans, Musee du Louvre, Inv.208

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VIEWOFTIVOLI 1816-17 Watercolor,brownink, and graphiteon l63/sin.(22.4X41.5 cm);signed paper,8lM6X and inscnbedlowerleft: Gericaultpinx./ Tivoli Geneva,GalerieJan Krugier

of Frenchartistsbefore Likegenerations him,Gericaultrecognizedthatanextended as an stayin Italywascrucialtohisformation artist.Tobe seen,copied,andunderstood thegreat werethemonumentsof antiquity, of theRenaissance, frescoesandaltarpieces of andthesplendidBaroquedecorations churchesandpalaces.Muchof importance buthe he alreadyknewfromreproductions, experienceof theseworks. lackedfirsthand he Inspring1816,attheageof twenty-four, forthe competedattheEcoledesBeaux-Arts Prixde Rome,a five-yearstayattheFrench Academyin Romewitha freestudio,classes, models,anda livingallowance.He madeit throughthefirstroundbutlostin thesecond. he securedfromhisfatherperUndeterred, to Italy,andwitha family go to mission annuityin hand,he leftin September1816, ostensiblyfora two-yeartrip whichhe cut impressed shortbya year.He wasprofoundly

by the experience.Accordingto Clement, the artist'sbiographer,"Llehad trembled beforethe mastersof Italy,had lost all selfconfidence,and only slowlyrecoveredfrom his agitation"(quotedin Eitner 1983,p. Ioo). AlthoughGericaulttraveledextensivelyin 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 exception 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 focused his ambitionson monumentalfigure painting.As Eitner succinctlyobserved,

"'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.,

he positionedhimselfatthebelvedereonthe viadelleCascatelle,theroadthatwindsout of thecityawayfromRome,in orderto obtainthebestviewof boththe GrandCascades butin a characteristic andthe Cascatelli; Gericaultmadethe spectacular departure, barelyvisiblein thedarkchasmat waterfalls, left,almostincidentalto thepicture.Refusparticular ingto highlightorsubordinate elements,he insteaddelineatedthe entire that scenebeforehimwitha meticulousness borderson obsession.Moststrikingis his of naturalism: thereis no atrenunciation thetimeof day, temptto suggestatmosphere, ofhis experienceatthat ortheparticularity imageis so timelessthat moment.Gericault's to learnthatit onewouldnotbe surprised hadbeencopiedfroman engraving suchas oneof GaspardDughet'snumerousviewsof Tivoli.Evenoutin nature,Gericaultsifted throughthefilterof pastart his observations in orderto achievea grandmanner.

VIEWOFMONTMARTRE 1816-20? Watercolor,gouache, and graphiteon paper,73/8x l 03/8in. (l 8.7 x 26.4cm);verso: LapithandAmazon Geneva,GalerieJan Krugier

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Throughouthis career,Gericaultconsistently 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 straightforwarddrawing,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

daylightalmostconcealsratherthanreveals a thevillagebelow.Thereis nevertheless givento alltheforms vigoroussubstantiality to hisMichelangela landscapeequivalent himself Gericault Although esquefiguralstyle. antipicturesque developthis didnotextensively style,summedupin hislargelandscapesof he used 1818,thedramatictonalcontrasts herewouldbe exploitedin thenextdecade byGranet,theRomanticlandscapepainter, andin thenextgenerationbyVictorHugo, inkdrawings. forhisremarkable

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Figure4a Viewof Montmartre(detail) Graphite,wash, and gouacheon 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.

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In 1813Gericaultand his father 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'Antiquiteexpliqueeet representeeenJ;gures(1719) of a relief depictinga battlebetween a Lapith

and an Amazon,cannotbe securelydated either.The style and subjectof the verso, drawnbeforethe landscape,suggest a date no laterthan 1815-16. Eitner dates the landscape 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).

WITH LANDSCAPE MORNING: FISHERMEN 1818 Oil on canvas,985/8x 8534in. (250.5 x 217.8cm) Munich,Neue Pinakothek,Bayerische Staatsgemaldesammlungen

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 preparatorydrawingsand 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 immediatelyannouncesits 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.

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.However,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 recountedthat 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 informationby someone who had actuallybeen there,such as Gericault'sstudentA. A. Montfort.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. > Figure c_s_ -_< ^t and _being of out : he 5): - v this modified sketches, zh, remained there pulled the watercolor. whilebasic are the 'to reducing now true RFthe no profile lost, 1 to 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 <+

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

ThisstudyforMorning:Landscapewith mostbeautiful Fishermen,oneof Gericault's is allthemoreimpreswatercolors, landscape scene. animaginary siveforrepresenting UnlikeViewof Tivoli(no.3),whichis a kindof miniaturelinearsurveyof thearchitectureof thehilltoptown,thisworkis of largeplanesreceding composed majestically to thefartherprogression in a convincing mostrangeof mountainsonthehorizon. Workingwithgreateconomy,Gericault neededonlytwocolorsofwash-blue and brown-to renderthelandscapeandsuffuse it witha unifyinglight. anearlystage Thissheetrepresents fortheMunichpicture of thecomposition

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animals;to prepareforthem,he executed severalstudiesof nudemodelspullingropes. Drawnafterhisreturnto Paris,thesetwo (no.5) werenotmadefromlive modelsbutfromthearost'slmagmatlon, whichbythenwaswellstockedwithan inf1nite numberof posesobservedunder a varietyof condltions. Thesesketchesweremadeafterthe Foggwatercolor (no.6), in which'thefishermenlaunchtheboatto theright,butprobablybeforetheDijondrawing(no.9).The Herculeanfiguresalsopullto therightin a sketchontheversoof a drawingin the Louvre(fig.7a).Gericaultdrewthefishermenpullingin bothdirectionsin a drawing

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

Althoughexhibitedandwidelyreproduced in sincethefirstgreatGericaultretrospective in the 1924,thisdrawing,likethewatercolor Fogg(no.6),hadtowaitforthereappearance ofMoming(no.5,)in 195,9beforeit couldbe

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thenewprofilethatappearsin thepainting. Apartfromthepositionoftheboat,whichis the stillcloseto thecenteroftheforeground, respect paintingconformsin everyimportant tothisdrawing. Thesketchattheupperrighthas alwaysbeenconsidereda variantofthesame quitedifferent. butit is obviously composition, Withits centralmountainandbroadriver, flowingfromthedistanceattheleft,it must (no.1l). Hadthebillforthedeliveryofthree ofthelargecanvasesto theartist'sstudioin thissheetalone 1818notbeendiscovered, simulproofthatGericault wouldbesufficient taneouslyconceivedthelargecanvases or, attheveryleast,twoofthem,Momingand a questionthathasbeen Evening answering debatedbyscholarsforoverthirtyyears.

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gathersin a deepA middaythunderstorm mounbluesky.Thepeaksof thefarthermost tainrangearealreadycoveredwithsnow, andsheetsof rainfallin themiddledistance. A strongwindblowsthecypressesalongthe A man,woman,andchild,seekriverbank. ingto escapethetempest,implorea pairof in a smallbarkto carrythemto filshermen safety;thebridgetheymighthavetakenis Loomingbehind brokenandimpassable. themis anancientRomantomb,andin its shadowtwoseveredlimbshangfroma pole. Itis thusnotsimplya stormthatfrightensthe family,it is thespecterof death. Trueto theestablishedconventions of landscapepainting,Gericaultanimated his depictionof Noonwitha thunderstorm. hadalwaysbeenthe Morningandafternoon timesof dayfavoredbylandscapepainters becausetheshadowsresultingfromtheslantinglightwerenecessaryfortheillusionof depth.Thestronglightof middaycreated AsDiderotnoticed,obproblemspictorially. with jectsatnoonarevirtually"inundated flatin therefore and 272) p. light"(Salons,III, theNeoclassical Valenciennes, appearance. landscapepainterandtheorist,codifiedacceptedpracticewhenhe wrotein an artist's manualof 1799 that"noonis themostconvenienthourto representtheterriblespectacle (p.435). of a stormorhurricane" JosephVernetwasknownandpraised forhis depictionsof ragingstormsathigh noon,andit is no coincidencethatGericault landscapecyclesas tookVernet'scelebrated hismodelfortheTimesof Day.Gericault wasfamiliarwiththegreatVernetsin the Louvreandwouldhaveseen,if he didnot own,theetchingsafterVernet'slandscapes madebyCarleVernet,Joseph'sson teacher.Gericaultmayalso andGericault's havestudied,asJoannaSzczepinska-Tramer suggestedin herexhaustiveanalysisof teacher, Noon, a paintingbyVernet's CalledLandscapewith AdrienManglard. 49

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W-\e->|@s SPo 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-PamphiliiGalleryin 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 2a), had their effect as well. Carracci(fWlg. Following the example of Vernet, Gericaultassembledthe motifs forNoon from a varietyof sources,creating,for example, 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

(figs. 1oa, 1ob), takingthe fragmentof a wall with pilastersfromthe engravingof the tomb of Plautius and applyingit to the basic structureof the tomb of Cecilia Metella. (Gericault also must have seen Bourgeois's1817lithographof the tomb of Plautius.)The bridge, roughlybased on the Ponte Rottoin Rome, also seems to have been adaptedfromengravings,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 fWleld tripsand sketchedside by side. In 1823 Thomas publishedan album of lithographs, UnAna Rome,in which he collectedpicturesque 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 lOC AntoineJean-BaptisteThomas (French,1791-1834) Ploughing from UnAn a Romeet dansses environs.Recueilde Dessins Lithographies [Paris,1824] x 9-gA8 in. (18.4x 25 cm) Lithograph,71/4 The MetropolitanMuseumof Art, Giftof HartyG. Friedman,1967, 67.519

Figure lod BartolomeoPinelli (Italian,1781-1835) TheBrigands,1822 Etching,107/8X 75/4in.(27.7x 1g.7cm)

Figure loe Studyof SeveredLimbs Oil on canvas,20l/2x 25l/4in. (52 x 64 cm) Montpellier,Musee Fabre, Inv.876.3.38

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,thenineteenthcenturymasterof Italiangenrescenes,also publishedanetchingofbanditscontemplatingthehunglimbsof 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's intenseinterestin themacabre, to onesightingwouldhavebeensuffWlcient searit onhismemory.Themotifanticipates thesubjectofhisgreatestandmostsingular loe) works,thestilllifesof severedlimbs(fWlg. Thoughtto havebeenstudiesforTheRaftof the Medusa,a projectwe nowknowto have

withthepaintingof the been contemporaneous Timesof Day,theyareclearlyautonomous thegruesome beauty worksthatportray frankly of death,a subjectbroachedonlyindirectly in Noon of Insomerespects,thecomposition Noon is themostdaringof theseries.Withits warmwhitecloudsbillowingin a brilliant to a ultramarine sky,it begscomparison contrary Poussin,butin his characteristically manner,Gericaultdisplacedtheharmonic elementsthat relationships of compositional arecentralto Poussin'sstyle.Thetombis too large,thefigurestoosmall,andthebridge doesnotfWlt atall.Thetombis alsoplaced dangerously closeto thecenterof thecomposition,so muchso thatonesensesthat rejectingthepicGericault wasdeliberately turesquestyle.Gilpin,whosetheorieson the picturesque andthesublimepromotedideal compositions overnature,thoughtthatmoplaced tifstooirregular ortooprominently to therealmhe passedfromthepicturesque called"romantic." He found,forexample, thatArthur's Seat,thelarge,ungainlyhillat gavethatcitya thecenterof Edinburgh, aspect: romanticratherthana picturesque "Aviewwithsucha staringfeaturein it, can thana facewitha no morebe picturesque largebulbousnosecanbe beautiful"(quoted in Vaughan1978,p. 38). Eitnerhasexpressedtheopinion tobe foundin thatif thereis anynarrative autobiographtheTimesofDay,it is probably ical.ThisseemsmosttrueofNoon. The weredeliveredto canvasesforthelandscapes theartist'sstudiojustashis auntwasaboutto givebirthtotheirchild,a boynamedGeorgesHippolyte. Thusonecouldeasilyassociate Gericault's personalplightwiththeimageof thedesperatemanwhoseeksrescueand shelterfromthebrewingstormin Noon.

11.

AN WITH LANDSCAPE EVENING: 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

Figure 1la ois Basan PierreFrancs (French,1723-1 797) afterClaudeJosephVernet (French,1714-1 789) TheCascatelli in. Etchingandengraving,7rJ.6x 8X/2 (18.2x 21.7cm) The MetropolitanMuseumof Art, HarrisBrisbaneDick Fund, 1953, 53.600.1547

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n Pontedelle Tom at Spoleto

Thewarmglowof thesettingsunstavesoff steel-bluecloudsof night. theencroaching Slantingbeamsof lightsilhouettetheivycoveredruinsofthebelvedereattheleft,pass throughtheelegantarcadeoftheaqueduct, andstriketherockycliffatthecenterbefore withtheirlastrays,theblasted illuminating, treeatthefarright.Bathers perhapsthe wholaunchedtheirbarkinMorning fishermen (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 exhibition 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 architecture,Eveningcomes closerto Joseph than Vernet'sspectacularpaysagesa eJ%et does Morning(no. 5) orNoon (no. lo). Here, Gericaultemulatingthe Vernetwhom we fWlnd 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 returncalm 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-

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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'scelebratedcompositions. The aqueduct,for example, seems to be taken fromVernet's1751view of Tivoli (fig. 1la), which was engravedand thus readily accessible,althoughVernetrepeatedvariations of this aqueductin other compositions as well. GericaultvisitedTivoli duringhis stayin Italy(see no. 3), but he could only have known the aqueductfromVernet'spicture,sincethe structureexistedonlyin Vernet's imagination.Althoughit looks convincing,it is a conflationof a specificbridge,the thirteenth-centutyPonte delle Torriat Spoleto (fig. 1lb) nearlysixtymiles fromTivoliand a generic, double-tieredRoman aqueduct.While the lowerbuildings are based on those at Spoleto,the mountain crownedby a tower,the repoussoir at the left, and the subjectof evening bathingare all adapted from VerIlet

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Figure lle AntonioCarracci (Italian,1583-1618) TheDeluge Oil on canvas,655/8x 9714in. (166x 247 cm) Paris,Musee du Louvre Inv.230

Neithera plagiarist nora slavish copyist,Gericault quotedfromVernetin order to underscore thenoveltyof hisownconception.Thevertiginous stackof compositional elements,theabnormally highhorizonsuggestedbutnotvisible thewiderangeof tone,andtheintensityof huerevealthe antinaturalist andessentiallyManneriststyle of Gericault's landscapesin opposition to the dramatic butnature-bound visionofVernet orthetimidandsometimesanemicNeoclassicalcompositions ofValenciennes. Vernet tookliberties witharchitecture, topographicalsites,andmeteorological phenomena in orderto givea moreconvincing impression of reality.Gericaulthereabandoned realityin orderto suggestthe sublimityof nature, whichhe interpreted as anawesome,Michelangelesqueforce. Gericaultappearstohaveindicated thebroadmassesof thecomposition while applyingthegroundto thecanvas.Thecliffs

wereprepared witha reddish-brown wash, stillvisiblein the shadows,andthewater witha grayground.Onthewhole,thecanvas is thinlypainted.Gericaultstroveformaximumeffectthrougheconomicalmeans:only in thehighlights ofthefWlgures, thetreeat theright,andof thecliffsandbuildingsin themiddledistance- didhe indulgein impasto,withbrilliantpassagesof spontaneous brushwork. Allof thevegetationwaspainted impromptu, andmostoftheprofWlles were freelydrawn.Inhis fWlnishing touches, Gericaultreemphasized thecontoursto achievesharp,sculptural defWlnition. A drawingin Rouen(fWlg. 11d) mayrelateto the climbingbatherattheright,a paraphrase of a fWlgure in Carracci's TheDeluge (fWlg. 1l e). LorenzEitnerhaskindlybroughtto myattentionanotherdrawingthatis alsoin Rouen, anunusualblack-chalk studyof seatedmale nudesattributed to Gericaultandformerlyin thecollectionof the artist'sfriendLehoux.

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STUDIES OFBATHERS About1818? Browninkandgraphite011,a,esr 6lMl6 x gl/sin.(17.3x 23.2cm) TheArtInstituteof Chicago,Giftof TiffanyandMargaret Blake,1947.35 folio44

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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,thepicturehadbeenexhibitedsince1750in the Palace.AsRichardVerdihas Luxembourg Poussin's itwasalsoconsidered demonstrated, mostfamouspainting.TheDeluge prompted as difpraisefromtemperaments hyperbolic ferentasthoseof Diderot,theRationalist, theRomantic,Constable, Chateaubriand, andP.N. Englishlandscapist, thenaturalist painter,whowas Guerin,theNeoclassical teachers.However,French oneof Gericault's did artists,unliketheirEnglishcounterparts, 57

notoftenquotefromPoussin'scomposition whenpaintingtheirown.Twoof themost significant works,Jean-Baptiste Regnault's paintingof 1802(fig.13b)andits offspring, A. L. Girodetde Roussy-Trioson's A Flood Sceneof 1806(fig.13C), conjureuphorrific, moralizingscenesthatfocuson humandespairin a mannerrecallingJ. F.Fuseli's nightmarish illustrations engravedin 1802 forMilton'sParadiseLost.AlthoughGericault drewa copyof Girodet'spainting,he deliberatelyrenouncedthetheatricsof Regnault andGirodetfora muchsubtlerinvestigation of Poussin'scomposition. Aneffortto rescue lovedones women,children,the aged is an anecdotecommonto allof theseflood scenes,butGericault,likePoussin,attempted to makethelandscape,nottheanecdote, conveytheemotion."Gericault understood thesegrand,dramaticscenesof natureand expressedthemwithrealpower,"wrote Clementin the 1860S(1879,p. 73).Thishe accomplished bysubordinating the scaleof thefiguresto thatof thedismalpanoramaof seaandsky.Bothelementsareworkedin a nearmonochrome ofgray-green, relieved onlybytherose-colored underlayer thatoccasionallyshowsthroughthe sky.Nowhere didGericaultuseblue,theonecolorto be mostexpected. In a drawingin the so-calledantiquemannerof 1815-16 aptlydescribed byEitneras "Flaxmandrivenmadby Michelangelo" Gericaultcopieda specific, andratherpeculiar,motiffromPoussin's Deluge, a manclingingto theearof a swimminghorse(fig.13d).Aboutthe sametime, he drewa finishedwashdrawing(Paris, privatecollection)closelyrelatedto the Poussin,whichhe musthavestudiedatthe Louvre,buthe mayalsohavereferredto an engravedreproduction thathe is knownto haveownedbecauseit wasincludedin the posthumoussaleof his studiocontents.The presentpictureis no morethanlooselybased 8

on Poussin'scomposition. Twodrawings Figure 13a NicolasPoussin specifically forthispaintingareknown (French,1594-1665) onlythroughtracingsbyGericault's friend Winteror TheDeluge AlexandreColin(Switzerland, privatecollec- Oil on canvas,46l/2 x 63 in. tion);a thirddrawing,byGericault,is at (118X l60cm) Rouen(inv.no. 17lr).AlthoughvariousauParis,Musee du Louvre, Inv.7306 thorshaveproposeddatesforGericault's Deluge rangingfrom1810to 1822, the style of thepaintingtechniquesuggeststhatit was executedsoonafterthe 1816-17tripto Italy. Thefiguresin thisworkaresimilarto those in theMetropolitan's landscape(no.1l), whichcannowbe surelydatedto 1818.In 1954,whenthelargelandscapes werethought Figure 13b(left) to dateto 1814,Eitnercorrectly recognized Jean-BaptisteRegnault therelationship of TheDeluge to theland(French,1754-1829) TheDeluge,1802 Oil on canvas,35l/8 x 28 in. (89.2X71 cm)

Paris,Musee du Louvre, Inv.7380 Figure 13C(opposite,above) Anne Louis Girodetde Roussy-Trioson (French,1767-1824) A Flood Scene,1806 Oil on canvas,174 x 13414 in. (444-2 x 343-2 cm)

Paris,Musee du Louvre, Inv.4934 Figure 13d (opposite,below) StlldyforTheDeluge Graphite,wash, and ink on paper, 7l/sxlo5/l6in.(l8.lx26.2cm)

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

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Watercolorand graphiteon paper, 41/8 x 61/2 in.

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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 recordedthat 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 enormous projectsthat simultaneouslyengaged the artist,and not only scale but subject connectedthem. JosephVernethad, by the mid-eighteenthcentury,establishedshipwreck scenes as appropriateto depictNight in cycles of the times of day,and Gericaulthad decided by earlysummer 1818that a shipwreckwould 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 incompetenceand cowardiceof the aristocratic 60

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 rescue) were determinedto make the truth known.Henri Savigny,a surgeon,wrotea reportthat, to the government'sgreat embarrassment,was leaked to the press. Savigny was joined by AlexandreCorreard,a geographer,in pressingthe governmentfor compensationfor the victims.In lieu of compensation they were harassed,and they took their case to the publicfor support.An expanded

Figure 14a TheRaftof theMedusa Oil on canvas,1933/8x 284 in. (493.4 x 725 8 cm) Paris,Musee du Louvre, Inv.4884

descriptionof the disasterwas publishedin November1817,just afterGericault'sreturn to ParisfromItaly.The bookwas soon sold out, and demandwas suchthatit wentthrough 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 depictingseveralepisodes of the disasterbeforesettling,in summer 1818,on the sightingof the rescue ship. Havingbegun with scenes crowdedwith figures, he simplifiedhis conceptionuntil he arrivedat the solution:a pyramidalcomposition of fifteensurvivorsstrainingtowardthe minusculeship on the horizon,theirpleading, 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,GericaulteffectivelyoverturnedDavid'spreceptsof Neoclassicism,which had monopolizedhistory paintingin Francefor nearlytwo generations. 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 principles on faith. The same sensibilitythat created TheRaftalso createdthe cycle of large landscapes.For this reasonalone it seems plausible 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 enlargedthe rescue ship perhapsthe final correctionof his most celebratedpainting.

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

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Clementrecountedthatthis workwas "a sort of imitationof a paintingwhichHoraceVernet executedin Gericault'sstudiotin the rue des Martyrs,for a Russiancollector."No painting knownto be by Vernetresemblesthis picture,althoughGrunchec(lg7gb, pp. 53, 54) has suggested,and othersfollowinghim, thatan oil of the same compositionin Lons-leSaunier(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 armchairthe traveler'sguide, VoyagesPittoresques, otherfor an 1823 edition in French of Lord 62

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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 parentsmourning 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 forcedseparationof the loversfromeach otherand the sickwith the child. In Paris in 1822-23, maladythat would soon end his life, Gericaultagain took up the subjectof death

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Figure lsa Forrnerlyattributedto Gericault TheTempest Oil on canvas,503/4x 763/4in. (129x 195 cm) Lons-le-Saunier, Musee des Beaux-Arts

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by drowningin the present painting,in a smallerversionin Paris (fig.1sb), which may be a preparatorysketch,and in The Tempest (no. 16) On a sheet now in a privatecollection (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 it is flotsamcast ashore.Characteristically, the landscape,with its jaggedrocks,and the

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

Figure 1sb The Tempest Oilon canvas,7 t/2x 97/8 in. (19 x 2 5 cm) Paris,Musee du Louvre, RF 784

de Mello shipwreckat the Salon of 1824, and the descriptionin the cataloguesuggestsit may have been similarin appearanceto the presentpainting. A lithographiccopy of Gericault's paintingwas made by CharlesBouquet. 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 exhibition 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 collaborativework.The presentcanvasis sometimes identifiedas the paintingformerlyin Constantin'scollection,but there is no proof of that;nor is there any visual evidence of it havingbeen paintedby two differenthands. The inscriptionon Bouquet'slithographgives only Gericaultas the author.Yetproblems remain.The conflictbetween Clement'sreference to a paintingby HoraceVernetand the 1826 exhibitionof a picturejointlyexecuted by Gericaultand Dedreux-Dorcyhas not been adequatelyexplained.

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Figure 15C Sheetof Studies Graphiteon paper,111il6 (30 x 22 cm) Privatecollection

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

This workseems to depictan episodefollowing 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 strongillustrativeappeal. 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 shipwreckscenes (lgS. 16a, 16b),often discussed in relationto this workand the Brussels painting,are primeexamplesof the new style.

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Essentialto thestylewereLordByron's poems,which,withtheirdramaticevents andexoticsettings,captivated theseartists. Hisnarratives anddescriptive passagesinfluencedthelookof earlyFrenchlithographs asmuchasanyotherindividual factor.In 18 VernetwasthefilrstFrenchartistto illustrate a passagefromByronwithhisprintConrad andGulnare,basedon a passagefrom"The Corsair." AfterByron'spoemswerepublished inFrenchin 1823,Gericaultimmediately madea lithographanda watercolor of The Giaour,in whichthe Christiancrusaderrides througha rockylandscapesimilarto thatof TheTempest, aswellas a suiteof seven illustrations of episodesfromByronthatwere basedon earlierEnglishillustrations. He executedtwoof thelithographs himselfand bya new,youngassociate,EugeneLami, fromoilsketchesthatGericaulthadprepared. Historians havelookedin Byron'swritings fora passagethatcouldhaveinspiredThe Tempest butnonehasbeenfound.

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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 5째0.419

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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'sattribution difilcultto sustainin the absence of comparableworkby Dedreux-Dorcy.It is true,however,that the executionlacks Gericault'scharacteristicvigor.A complicatingfactoris the descriptionby a contemporarycriticof a paintingof the same subjectthat was reputedlythe jointproduction of Dedreux-Dorcyand Gericault(see no. 15).Gericault'sstudent A. A. Montfort sketcheda similarscene on a sheet now in the Ecole des Beaux-Arts,Paris (Ilg. 16C). Whetheror not thiswatercoloris by Gericault, it testifiesto the strongappealof this kind of imageryto the groupof young artistsin his immediatecircle.

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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 Commissaires,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; SzczepinskaTramer1982,p. 140;Bazin 1989,pp. 34, 149, nos. 725 (recto)and 726 (verso),repr.;Sells 1989, pp. 341-572.

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,"

pp.208-g, no. 885 (recto),repr.as "Recherches pourScenes Militaires";Sells 1989, pp.341-57.

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,"forÂŁ 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-

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, CoutanHauguetcollection,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, forÂŁ 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.

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.

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.

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.

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.

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,

p. 461, no. 5 (Eitneridentifies thissheetasthat described byClement[1879, p. 328, no.5] even

Evening:Landscape withan Aqueduct, 1818

thoughClementspecifically describesa sheetwith twolandscapes andnotone.Clementmayhave hadin mindthesheetwithtwolandscapes, nowin Bayonne[inv.no.802]; or,if not,he refersto a lost drawing); Szczepinska-Tramer 1974, p. 299, n. 4; Lemoine1976, pp. 139-40, no. 117,repr.; Steingraber 1979, pp. 246-47; Eitner1983, pp- 142-43, fig- 124, p. 340, n. 28.

PROVENANCE: Possiblyoneof four landscapes catalogued in theposthumous saleof Gericault's studio,HotelBullion,Paris,November 2, 3, 1824,no. 18,as "Quatre Esquissesde Paysages," forF92;subsequent whereabouts unknown; possibly attheChateaudeMontmorency, Montmorency, after1886,untilbefore 1903;possibly withRenePetit-Leroy, Paris,until1903;sale, H6telDrouot,Paris,May30, 1903,no.23,as 0. Noon:Landscape witha Roman "Paysage avecrocherset constructions," together withno. 22to LavilleforF 1,205;possiblywith Tomb,1818 Comtede Saint-Leon, ChateaudeJeurre,Etrechy, PROVENANCE: Possiblyoneofthefour until 1937; possibly to Nat Leeb,Paris,1937-49; landscapes catalogued in theposthumous 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 WalterP.Chnysler, Jr.,NewYork,1954-88; Paysages," forF 92; subsequent 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, Alabama, p. 37, no. 19, repr. no. 71, as "Paysaged'Italiepartempsorageux," 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); AimeDetroit,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; 12. StudiesofBathers,about 1818? Eitner1983, pp. 142-45, 340, nn 24-27 31 34, pl. 26 in color,as 1818;Mosby1983,p. 84; Brugerolles1984,p. 245, underno. 346; Granville 1987,p. 280; Eitnerand Nash 1989,p. 54, under no. 26; Schaefer1989,pp. 28-29. 7o

PROVENANCE:

See

EXHIBITIONS:

None.

Eitner lgs4a, p. 135, nn. 1960,p.35,under folio44,repr.;

REFERENCES:

18:Eitner

no.l.

17,

Grunchec1976,p.406,no. 53,p.419,n. 115; Gruncheclg7gb, pp. 43-44,57,nn. 88,89; p.78,n. 20;Szczepinska-Tramer Matteson1980, 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

PossiblyJuliende la PROVENANCE: possiblyhis sale, Paris, Rochenoire,Paris,in 1858; March22,1858,no. 64,as "Scenedu deluge, lere pensee du tableau,"to GarreauforF 27(however, this is morelikelythe drawingin a privatecollection A. de Girardin,Paris,by [Bazin1989,no. 983]); 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. 1924Parisand Rouen, EXHIBITIONS: p.58,no. 137,as "Scenedu Deluge," 1818-lg, lent by Mme StephanePiot; 1937Paris,no. 56,as 7-lg, lent by Mme "Scenedu Deluge," 181 StephanePiot; 1966Paris,no. 32;1967Paris, Moscowand Leningrad,no. 56, no. 358;1968-69 Los Angeles,Detroit,and repr.;1971-72 Philadelphia,p. 66,no. 29,repr.;1975Paris;1976 Hamburg,pp. 208,213,no. 164,repr.;1984Mareqen-Baroeuland Dieppe,no. 20,repr. Clement 1867b,p. 290, REFERENCES: no. 127,as "Scenedu Deluge,"Mme la Vicomtesse pp.72-73,30g-lo, de Girardin;Clement1879, Mme la no. 133,as "Scenedu Deluge," 1818-20, 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, vol.1,p.897, Jullian1966, pp.22-23,as 1815-16; pp.139-46,figs.1,3 as pre-Italy;Granville1968, p.455,no. 133; (x-ray),as post-Italy;Eitner1974, 1974,pp.3oo,311,313; Szczepinska-Tramer Grunchec1978,pp.105-6,no. 123,repr.,as p.397,n. 75,fig.4;Eitner 1817-20; Verdi1981, 1983,pp.96-97,344,n. 137,pl.17in color,as p.47,underno. 9, 1812-15; Grunchec1985, pp.78,229,no. 934,repr. fig. ga; Bazin1989,

14.

TheRaftoftheMedusa(reduction), 1820

PossiblyGericaults gift to PROVENANCE: Leclerefils, AlexandreCorreard,Paris,by 1820; M. Rouher,Paris;to his daughter, Paris,by 1867; MarquiseSamuelVellesde la Valette,Paris;to her familyby descent;sale, SothebyParkeBernet& no. 108,forÂŁ 21,000. Co., London,March3o,1977, 1989San Francisco,p. 60, EXHIBITIONS: no. 41,repr.in color;lggo-gl New Yorkand Geneva,pp. 92-93,no. 52,repr. p.368, Clement 1867C, REFERENCES: no. l26-b, as "Reproductiondu tableau,"Leclere pp.357-58,no. 13g-b, filscollection;Clement1879, du tableau,"Leclerefilscollection; as "Reproduction Eitner1972,p. 152,no. 28; Barran1977,p. 311, fig. 124.

andChildona DrownedWoman Beach,about1822

Probablynot the work PROVENANCE: 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 his sale, ArnedeeConstantin,Paris,until 1830; 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. 1826Parisas by DedreuxEXHIBITIONS: Dorcyand Gericault,lent by Constantin(per p.358, Grunchec1978,p.122;and Eitner1983, 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, (notexhibitedaccording or The Storm,"1812-16 1953Winterthur,p. 38,no. 112; to Eitner1974); 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 no. P-32,repr. Fukuoka,pp. 118-20, Clement1867b,p. 281, REFERENCES: 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, p.451,no. 67;Szczepinskan. 1l; Eitner1974, Tramer1974, pp.316-17;Grunchec1976,pp.399, 411,nn. 2,3;Berger1978,p.88,as "Wreckage"; pp.121-23,no. 221,fig.221,pl.LIV Grunchec1978, in color;Gruncheclg7gb, pp. 52-54,fig.so,p.58, pp.256-59,357,nn. 85, nn- 153-57; Eitner1983, 88,go,p.358,nn. 91, 92,93,98,fig.210.

about1822 TheTempest,

PossiblyP.J. DedreuxPROVENANCE: Vicomtede Fossez, Paris; Dorcy,Paris,by 1832; Ambroselli,Paris;S. Kleinbergerand Co. Inc., NathanChaikin;to The Art New York,by 1964; Instituteof Chicago. 1971-72Los Angeles, EXHIBITIONS: Detroit,and Philadelphia,p. 161,no. 116,repr.; 1976Paris,no. 37,repr. pp.7-17, Eitner1967, REFERENCES: pp.132-33,no. 65,repr.; fig. 1;Joachim1974, 1974,p.313,n. 5,p.315, Szczepinska-Tramer fig.221(3) fig. g; Grunchec1978,p.122,no. 221(3), (attributedto Dedreux-Dorcy);Gruncheclg7gb, pp.52-54,58,nn. 162,163,fig.54(attributedto p.257,n. 94. Dedreux-Dorcy);Eitner 1983,

BIBLIOGRAPHY

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London:ThamesandHudson, FrenchDrawingof theIgthCentury. Huyghe,Rene,andPhilippeJaccottet. 1956.

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LISTOFEXHIBITIONS

1907Berlin.Gericault.Berlin,GalerieFritzGurlitt,1907.PerDubaut1956. lgog. PerDubaut1956. gog Munich.Empireund Romantik.Munich,GalerieZimmermann, Rouen.Millenairenormand.19ll. PerDubaut1956. Franscais, L'Institut St.Petersburg, L'Expositioncentennale:FrenchPainting,I8I2-I9I2. 1912 St.Petersburg. . PerDubaut1956. April24-May16, ParisandRouen.Expositiond'oeurresde Gericault.Paris,HotelJeanCharpentier, ; Rouen,MuseedesBeaux-Arts. Basel.Dessinsfrancais. 1935.PerDubaut1956. Paris,MauriceGobin,December5-21, Paris.Dessinsaquarelles&gouachespar Gericault,I79I-I824. 935. 6 Paris.Gros:Ses amis, ses eleves.Paris,PetitPalais,1936. Maylo-2g, Paris,MM.Bernheim-Jeune, Paris.Exposition 937. Brooklyn Brooklyn.XIX CenturyFrenchDrawingsfrom the Collectionof Paul J. Sachs. Brooklyn: Museum,1939.No cataloguepublished. Mass.,FoggArtMuMass.FrenchRomanticismof the Eighteen Thirties.Cambridge, Cambridge, 12, 1943. January16-February University, seum,Harvard Boston.A ThousandYearsof LandscapeEastand West:Paintings,Drawings,Prints.Boston,Museumof FineArts,October24-December9, 1945. Mass.Betweenthe Empires:Gericault,Delacroix,Chasseriau Paintersof the Romantic 6 Cambridge, April30-June1, 1946. Mass.,FoggArtMuseum,HarvardUniversity, Movement.Cambridge, Detroit.FrenchDrawingsof Five Centuriesfrom the Collectionof the Fogg Museumof Art, Harvard University.Detroit,The DetroitInstituteof Arts,Mayls-September30, 1951. FineArtsLimited,October-November London,Marlborough London.TheodoreGericault,I79I-I824. 952. Morgan Bruegelto Cezanne.NewYork,ThePierpont NewYork.LandscapeDrawings& Water-Colors: January31-April1l, 1953. Library, August30Winterthur, Kunstmuseum Winterthur: TheodoreGericault,I79I-I824. Winterthur. November8, 1953. openedJanuary9, 1954. Paris.Gros,Gericault,Delacroix.Paris,GalerieBernheim-Jeune, Portland 6-57 Portland,Oregon,et al. Paintingsfrom the Collectionof WalterP Chrysler,Jr.Portland: ArtMuseum,1956.A travelingexhibition,also shownat SeattleArtMuseum;San Francisco, Institute Palaceof the Legionof Honor;LosAngelesCountyMuseum;Minneapolis California 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,TheMetropolitanMuseumof 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. December8, 62-63 Charleroi.Gericault:Un Realiste romantique.Charleroi,Palaisdes Beaux-Arts, 62-January6, 1963. Januarylg-March11,1963. 63 Rouen.Gericault:UnRealisteromantique.Rouen,MuseedesBeaux-Arts, 65-66 NewYork.FrenchLandscapePaintersfrom Four Centuries.NewYork,FinchCollegeMuseumof 9, 1966. Art,October20, 1g65-Januaxy Mass.,andNewYork.MemorialExhibition:Worksof Artfromthe Collectionof Paul J. 65-67Cambridge, Gericault:

peintreetdessinateur(I7gI-I824).

Given and Bequeathedto the Fogg Art Museum,HarvardUniversity,CamSachs (I878-I965), 15, Mass.,FoggArtMuseum,November15, 1g65-Januaxy bridge,Massachusetts.Cambridge,

26, 1967. 66; NewYork,Museumof ModernArt,December19, 1g66-Februaxy Maylg-July19,1966. 1966Paris.Delacroixet lespaysagistesromantiques.Paris,MuseeEugeneDelacroix, Paris,Orangeriedes Tuileries, 1967-68 Paris.Vingtans d'acquisitiondu Musee du Lourre, I947-I967. December16,1g67-March1968. Expositiondesoeurresappartenant dansla peinturefrancaise: Le Romantisme 68-69 MoscowandLeningrad. aux museesde France.Moscow,PushkinMuseum,Decemberlg68-Januaty1969;Leningrad, throughApril1969. TheHermitage, Gericault.LosAngelesCountyMuseumof Art,October -72 LosAngeles,Detroit,andPhiladelphia.

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,ArtGalleryof NewSouthWales,October17-November23, 1980;Melbourne, NationalGalleryofVictoria,December17,lg80-February15, 1981. 84 Mareq-en-Baroeul andDieppe.Oragesdesires,ou le paroxysmedansla traductionde la nature.Mareqen-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,NorthCarolina 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,CaliforniaPalaceof the Legionof Honor,January28-March26, 1989. ggo-9l NewYorkandGeneva.VictorHugoand theRomanticVision:Drawingsand Watercolors. NewYork, JanKrugier Gallery, May4-July27,lggo;Geneva,GalerieJanKrugier, January-February 199l.

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