Theodore Gericault painted masterpieces that demonstrated the romantic style and expressed his own passion for immense realism. Born into a wealth Rouen family in 1791, Gericault studied art in Paris, eventually moving to Italy where he was greatly influenced by artists such as Michelangelo and Rubens. Caught between the two period of neo-classicism and romanticism, Gericault demonstrated great talent in displaying bold design, dramatic color and violent action, and expressing extreme emotions. One of his masterpieces is “The Raft of the Medusa” was exhibited at the 1819 Salon and caused a scandal politically concerning the corrupt government. If it were possible to speak with Gericault, I would want to go back in time when his painting was released and get all the details about his artwork and feelings during this time of a artist during this movement.
I imagine that I would be walking through the Musée du Louvre in Paris. The year is 1819, the year in which Gericault would have his painting on display at the Salon. However, in present time, The Raft of Medusa will be held at the Louvre, so I have chosen this location for my meeting with the famous artist. In 1806, the Louvre had a small triumphal arc built by Percier and Fontaine and aligned with the Pavillon de l’Horloge and the central pavilion of the Tuileries. Later in 1808, it was decorated with reliefs and statues by Denon celebrating French military victories. On the top, Denon had four celebrated antique bronze horses from the facade of Saint Mark's Basilica in Venice added. Knowing that Gericault’s passion was horses, I thought this would be an appropriate meeting place. As Theodore approached, I studied the twenty eight year old man walking toward me, in awe of his the talent that had created the paintings so powerful and influential not only in his lifetime, but mine as well.
After introductions, my first question for Gericault would be regarding the Raft of the Medusa. Why did he choose to paint about this topic? Of course it was a horrific event during the past few years, but had he known someone on the ship or did he relate to their tragedy in some way? It would be interesting to hear his response because if would enable me to gain a better understanding of him and his motives in art.
Next, I would ask him about his studies leading up to the painting. Was it scary studying the corpses and dying in the hospitals and morgues? Gericault would probably respond with the wisdom of an artist with the determination to better understand his subject matter. He would explain how his portraits of dying patients at the Hospital Beaujon helped enhance the realism in his portrayal of humanity with all it terror, anguish, tension, and hope. I would be impressed (and slightly grossed out) by his dedication to his art as he continues to explain how he kept the dissected limbs and severed heads to observe and record their gradual decay. Today, one doesn’t have the opportunity or means of studying the decomposition of the human body as easily as the did in the 1800s so to hear his experience to the exposure of death first hand would be enlightening. In a way this behavior adds to his probable morbid personality, but it also shows the genuine aspect of his soul, the need to experience himself the sight and smell of death and live with it in order to truly portray the truth of the death on the ship.
I would also want to know if the controversy surrounding his painting effected him personally. When the Raft of Medusa was released it exposed the corruption and negligence of French government, leading the French government to force Gericault to move the painting to England. Gericault would most likely smile and say he had hoped for such a reaction because in some way he helped in the recognition of the flaws of his government, a hero in his own portrayals.
Lastly, I’d spend my time with Theodore Gericault conversing about his artistic techniques. How did he plan the composition of the painting? Observing it now, one notices the extreme diagonals that bring out the essence of terror and aguish, but how much of this linear structure and lighting contrast is planned and how much is just luck or talent? I’d tell him that is 200 years his name will still be spoken of and his art still admired at the Louvre in Paris. I expect that he would be humble and glad his artwork had done so well, to say the least. Gericault died at the young age of 33 after falling from a horse in 1824. I can’t help but wonder the greatest question of all...what great masterpieces could have been, what had he planned to paint, and what greatness could he still have produced if he hadn’t have died at the peak of his artistic career.
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