救生筏上的梅杜萨号幸存者
让-路易·安德烈·特奥多尔·热里卡尔的这部巨作不仅仅是对一场海上灾难的描绘;它是一次对人类绝望、政治丑闻以及自然崇高力量的直观探索。这幅完成于1819年的画布尺寸巨大(491 x 716 cm),超越了人体比例,它永恒地记录了1816年法国护卫舰“麦杜萨号”沉没后那段令人心碎的余波——这场悲剧源于渎职与腐败,曾令整个法国社会为之震惊。
In short
救生筏上的梅杜萨号幸存者 (1818) is the 泰奥多尔·杰利柯 painting that draws the most eyes; the original belongs to the 卢浮宫, 巴黎. After it, the eye goes to Nymph and Satyr (Jupiter and Antiope) (1820) and The Oath of Brutus after the Death of Lucretia (1815). Among the 183 works of 泰奥多尔·杰利柯 in our catalog, these 100 are the most famous, each a unique original presented with its year, its museum and the reason it endures.
让-路易·安德烈·特奥多尔·热里卡尔的这部巨作不仅仅是对一场海上灾难的描绘;它是一次对人类绝望、政治丑闻以及自然崇高力量的直观探索。这幅完成于1819年的画布尺寸巨大(491 x 716 cm),超越了人体比例,它永恒地记录了1816年法国护卫舰“麦杜萨号”沉没后那段令人心碎的余波——这场悲剧源于渎职与腐败,曾令整个法国社会为之震惊。
The Allure of the Divine Encounter: Géricault’s *Nymph and Satyr* Jean-Louis André Théodore Géricault's *Nymph and Satyr*, painted in 1819, isn’t merely a depiction of a mythological scene; it’s a profound exploration of desire, transgression, and the inherent tension between innocence and primal instinct. Born amidst the tumultuous backdrop of post-revolutionary France, Géricault, already recognized for his dramatic intensity, sought to capture not just a narrative but an emotional truth—a…
The Oath of Brutus after the Death of Lucretia is an oil on canvas by Théodore Géricault. This history painting captures a moment of heavy, political consequence. The artist, Théodore Géricault, rendered the scene with a focus on the weight of human resolve. It emerged from his studio about 1815.
This vigorous painting of six lions in a remote, spectrally illuminated lair—possibly intended to evoke the Atlas Mountains of Morocco—is an extraordinary example of Gericault’s spontaneous handling of paint. Rather than applying finishing touches to make a polished cabinet picture, the artist left the painting in a state known as an esquisse, or sketch, a work prized by fellow artists for its strength of directly capturing a subject or effect.…
Théodore Géricault's "The Kiss," painted in 1816, isn’t merely a depiction of lovers entwined; it’s a visceral embodiment of the burgeoning Romantic movement’s fascination with raw emotion, dramatic intensity, and the sublime. This arresting work, housed within the Thyssen-Bornemisza Museum in Madrid, transcends simple representation to become a profound meditation on passion, vulnerability, and the very essence of human connection. Géricault, already a figure known for his unflinching portrayals of…
A Symphony of Suffering: Géricault’s “Wounded Soldiers Retrating from Russia” Jean-Louis André Théodore Géricault's "Wounded Soldiers Retrating from Russia" is not merely a painting; it’s a visceral embodiment of the horrors and human cost of war, rendered with an unprecedented level of realism and emotional intensity for its time. Completed in 1814, this monumental canvas—measuring a commanding 250 x 206 cm—captures a pivotal moment during Napoleon's disastrous invasion of Russia,…
Jean-Louis André Théodore Géricault's "Study of Feet and Hands," painted in 1818, isn’t a grand statement of Romantic drama like his monumental “The Raft of the Medusa.” Instead, it offers a profoundly intimate glimpse into the artist’s meticulous process and a poignant meditation on the human form. This unassuming oil painting—measuring a modest 52 x 64 cm—is far more than just a preparatory sketch; it's a concentrated distillation of Géricault’s…
Jean-Louis André Théodore Géricault's "The Raft of the Medusa," a monumental detail from his 1818 painting, isn’t merely a depiction of shipwreck; it’s a visceral plunge into the depths of human suffering and political indictment. The scene, rendered with a dramatic intensity characteristic of Romanticism, captures the harrowing aftermath of the French frigate *Medusa*'s wreck off the coast of Mauritania in 1816. This disaster, largely attributed to the incompetence and…
Théodore Géricault's "The Wreck," painted in 1821, isn’t merely a seascape; it’s a visceral confrontation with the sublime—a raw depiction of humanity’s vulnerability against the overwhelming force of nature. Born amidst the turbulent currents of post-revolutionary France, Géricault, a figure both lauded and controversial within the burgeoning Romantic movement, channeled his own anxieties and the era's fascination with dramatic events into this monumental canvas. The painting immediately commands attention not…
The four subjects that come back most often in these originals, each with its finest example.
The 8 museums that hold the most of the paintings on this page.
| Museum | City | Works by 泰奥多尔·杰利柯 | Paintings from this list |
|---|---|---|---|
| 巴黎 | 20 | 救生筏上的梅杜萨号幸存者, The Raft of the Medusa (detail), Leda and the Swan | |
| 尚蒂伊 | 6 | Mazeppa, Boxers, Lion devouring a horse | |
| 洛杉矶 | 3 | Three Lovers, Study of a Model, The Race of the Riderless Horses | |
| 华沙 | 3 | Equestrian portrait of Wincenty Krasiński., A study for a nude., Study of a nude man | |
| 格拉斯哥 | 8 | The Trumpeter of the Lancers of the Guard, A Prancing Grey Horse | |
| 蒙彼利埃 | 4 | Study of Feet and Hands, Portrait d'homme | |
| 巴黎 | 3 | The Scotsman, Italian Landscape with Tomb | |
| 馬德里 | 2 | The Kiss, The Horse Race |
Pick a decade to see the original that defines it.
Jean-Louis André Théodore Géricault's "Two Horses," painted in 1808-1809, isn’t merely a depiction of two magnificent animals; it’s a visceral exploration of movement, power, and the fleeting nature of existence. Born amidst the tumultuous backdrop of revolutionary France, Géricault was a restless spirit, rejecting the rigid formality of Neoclassicism in favor of a Romantic intensity that sought to capture raw emotion and dramatic truth. This painting, rendered in oil on…
让-路易·安德烈·特奥多尔·热里卡尔的这部巨作不仅仅是对一场海上灾难的描绘;它是一次对人类绝望、政治丑闻以及自然崇高力量的直观探索。这幅完成于1819年的画布尺寸巨大(491 x 716 cm),超越了人体比例,它永恒地记录了1816年法国护卫舰“麦杜萨号”沉没后那段令人心碎的余波——这场悲剧源于渎职与腐败,曾令整个法国社会为之震惊。
The Allure of the Divine Encounter: Géricault’s *Nymph and Satyr* Jean-Louis André Théodore Géricault's *Nymph and Satyr*, painted in 1819, isn’t merely a depiction of a mythological scene; it’s a profound exploration of desire, transgression, and the inherent tension between innocence and primal instinct. Born amidst the tumultuous backdrop of post-revolutionary France, Géricault, already recognized for his dramatic intensity, sought to capture not just a narrative but an emotional truth—a…
救生筏上的梅杜萨号幸存者 (1818), 卢浮宫, 巴黎. Nymph and Satyr (Jupiter and Antiope) (1820) and The Oath of Brutus after the Death of Lucretia (1815) come next.
27 years old: 救生筏上的梅杜萨号幸存者 dates from 1818, and 泰奥多尔·杰利柯 was born in 1791.
救生筏上的梅杜萨号幸存者, Nymph and Satyr (Jupiter and Antiope), The Oath of Brutus after the Death of Lucretia, Lions in a Mountainous Landscape, The Kiss, Wounded Soldiers Retrating from Russia, Study of Feet and Hands, The Raft of the Medusa (detail), Leda and the Swan and The Wreck. The ranking above gives each one's year and museum.
Our catalog holds 183 works by 泰奥多尔·杰利柯, dated from 1800 to 1824.
Mostly in 卢浮宫 (巴黎), 香提伊城堡 (尚蒂伊) and J·保罗·盖蒂博物馆 (洛杉矶). The museum table above lists them all.
In 1810s: 67 of the 100 works on this page were made then, 救生筏上的梅杜萨号幸存者 among them.
On this page, the earliest is Portrait of a Negro (1800) and the latest The Wreck (1824).
Man (12), Portrait (9) and Horse (8), across the 100 works on this page.
Oil On Canvas, for 25 of the 100 works on this page.
Romantic painting, judging by the originals on this page.
救生筏上的梅杜萨号幸存者, The Raft of the Medusa (detail) and Leda and the Swan: the 卢浮宫, 巴黎 holds 14 of the works on this page.
Yes, as a reproduction: the original stays in its museum, but any painting on this page can be painted by hand for you, made to order one at a time, from the painting's own page.