Word: ricault
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...Fornarina” and Géricault’s 1822-23 “The White Horse Inn.” Set next to them are printed “reproductions”: an engraving of the Ingres (Pradier, 1827) and a lithograph of the Géricault (Volmar...
...lithograph of the Géricault emphasizes the further difference between which exist printing processes themselves: The impassioned detail that the lithograph crayon permits the artist to inscribe leaves this work somewhere between painting and etching. The dynamics of the painting (while altered) are amplified in the lithograph, such that we are even aware of background details in it that we have to return to the painting, squinting, to pick...
...that German art got left out of American taste on 19th century matters-a taste formed and dominated by Paris, from impressionism onward. Ten years ago, there was not one art course in America that would have suggested that Friedrich was a painter of comparable importance to Géricault or even Delacroix, or that the work of Wilhelm Leibl or Hans Thoma might be anything better than an able but provincial reaction to that of Gustave Courbet. It was not always so; last century, Munich influenced American artists even more than Paris. There are plenty of parallels...
...battle pictures and painted disaster ep ics in the 18th and 19th centuries had been laid, even down to the kind of horses. Rubens' standard horse, a prancing, thick-barrelled animal with nervous fet locks, cascading tail, wild, rolling eyes and distended nostrils, was repeated by Géricault and Delacroix until it became the very symbol of the romantics' sense of organic energy. In portraiture, Rubens' sense of the grand manner and his way of putting figures convincingly within nature would deeply affect both Gainsborough and Reynolds, the leading English art theorist of his time. Reynolds...
...France that between 1801 and 1873 the school was renamed eight times-from the Lycée Impérial (Napoleon's era) to the Lycée Descartes (the 1848 revolution). What never changed was the stunning output of famous men. Painters Degas, Delacroix and Géricault went there; so did Sculptor Frederic Auguste Bertholdi, who designed the Statue of Liberty. Louis-le-grand taught Writers Victor Hugo, Charles Peguy, Theophile Gautier, Paul Claudel and, more recently, Jean-Paul Sartre. The poet Baudelaire was aptly pegged ("somewhat bizarre charm") before being expelled for refusing to unhand another...