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*Jean-Louis-Andre-Theodore Gericault (1791-1824) a sheet of studies of male nudes and horses and riders. Pen and brown ink. 181 by 254mm. Provenance: Baron Vitta, his sale, Paris, Hotel Drouot, 27 May 1926, lot 117; Galerie Sagot-Le Garrec; Yves Roman-Heuyer. Literature: G. Bazin, Thedore Gericault: Etude Critique, Documents et Catalogue Raisonne, Paris 1990, vol.IV, pp.27 and 164, cat.1267, illus.; W. Whitney, Gericault in Italy, New Haven and London 1997, p.196; p.195, fig.258. This drawing is one of a group of sketches of similar subjects referred to as the Gigantomachy or Battle of the Titans. However, even this encompassing title does not entirely account for all the elements of the various compositions. The struggling figure with the drapery could easily be Herc

*Jean-Louis-Andre-Theodore Gericault (1791-1824)
a sheet of studies of male nudes and horses and riders.
Pen and brown ink.
181 by 254mm.
Provenance: Baron Vitta, his sale, Paris, Hotel Drouot, 27 May 1926, lot 117; Galerie Sagot-Le Garrec; Yves Roman-Heuyer. Literature: G. Bazin, Thedore Gericault: Etude Critique, Documents et Catalogue Raisonne, Paris 1990, vol.IV, pp.27 and 164, cat.1267, illus.; W. Whitney, Gericault in Italy, New Haven and London 1997, p.196; p.195, fig.258. This drawing is one of a group of sketches of similar subjects referred to as the Gigantomachy or Battle of the Titans. However, even this encompassing title does not entirely account for all the elements of the various compositions. The struggling figure with the drapery could easily be Hercules wrapped in Nessus' poisoned cloak, who then is transformed into one of the figures from the Laocoon (see Whitney, op.cit., pp.192-96). The fluid style and easy transition from one figure to another has prompted most scholars to date this and the other Gigantomachy drawings to Gericault's Italian journey of 1816-17. The subject matter, though uncertain, is clearly classicizing and would therefore also fit into this period in which Gericault was studying Italian art, both ancient and modern. However, Whitney (op.cit., pp.196-97), feels that it might also fit into the period just after his return to France, when he was working in a variety of styles, but still occupied with his Italian themes. *Jean-Louis-Andre-Theodore Gericault (1791-1824)
a sheet of studies of male nudes and horses and riders.
Pen and brown ink.
181 by 254mm.
Provenance: Baron Vitta, his sale, Paris, Hotel Drouot, 27 May 1926, lot 117; Galerie Sagot-Le Garrec; Yves Roman-Heuyer. Literature: G. Bazin, Thedore Gericault: Etude Critique, Documents et Catalogue Raisonne, Paris 1990, vol.IV, pp.27 and 164, cat.1267, illus.; W. Whitney, Gericault in Italy, New Haven and London 1997, p.196; p.195, fig.258. This drawing is one of a group of sketches of similar subjects referred to as the Gigantomachy or Battle of the Titans. However, even this encompassing title does not entirely account for all the elements of the various compositions. The struggling figure with the drapery could easily be Hercules wrapped in Nessus' poisoned cloak, who then is transformed into one of the figures from the Laocoon (see Whitney, op.cit., pp.192-96). The fluid style and easy transition from one figure to another has prompted most scholars to date this and the other Gigantomachy drawings to Gericault's Italian journey of 1816-17. The subject matter, though uncertain, is clearly classicizing and would therefore also fit into this period in which Gericault was studying Italian art, both ancient and modern. However, Whitney (op.cit., pp.196-97), feels that it might also fit into the period just after his return to France, when he was working in a variety of styles, but still occupied with his Italian themes.