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。
摘要
泰奥多尔·杰利柯 最广为人知的作品是《救生筏上的梅杜萨号幸存者 (1818)》,现藏于巴黎的卢浮宫。 接下来的条目是 Nymph and Satyr (Jupiter and Antiope) (1820) 和 The Oath of Brutus after the Death of Lucretia (1815)。 该目录收录了 泰奥多尔·杰利柯 的 183 件作品;下方列出的 100 项为最著名的作品,按排名顺序排列,并包含创作日期、馆藏机构及作品描述。
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…
这些作品中最常出现的四个主题,以及各自最具代表性的范例。
收藏了本页中大部分画作的 8 家博物馆。
| 博物馆 | 城市 | 泰奥多尔·杰利柯 的作品 | 此列表中的画作 |
|---|---|---|---|
| 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 |
选择一个年代以展示其代表画作。
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。以下是Nymph and Satyr (Jupiter and Antiope) (1820)和The Oath of Brutus after the Death of Lucretia (1815)。
27岁:泰奥多尔·杰利柯出生于1791,其作品救生筏上的梅杜萨号幸存者创作于1818年。
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 及 The Wreck。上方列表记录了每件作品的创作日期及馆藏博物馆。
目录记录了 泰奥多尔·杰利柯 的 183 件作品,创作时间在 1800 至 1824 之间。
主要收藏于 卢浮宫 (巴黎), 香提伊城堡 (尚蒂伊) 及 J·保罗·盖蒂博物馆 (洛杉矶)。上方的博物馆列表展示了完整的分布情况。
在 1810s 时期:本页列出的 100 件作品中有 67 件属于该时期,其中包括 救生筏上的梅杜萨号幸存者。
此处列出的最早作品日期为 Portrait of a Negro (1800),最晚为 The Wreck (1824)。
在本文档列出的 100 件作品中,共有 Man (12), Portrait (9) 及 Horse (8) 件。
Oil On Canvas,共计 26 件,收录于本页 100 件作品中。
如本页作品所记录的 Romantic painting。
救生筏上的梅杜萨号幸存者, The Raft of the Medusa (detail) 及 Leda and the Swan 是 卢浮宫, 巴黎 馆藏中本页 14 件作品之一。
是的。本页面列出的每件作品均可通过其专属详情页进行订购,您可以根据需求选择手工油画复刻版或艺术微喷版,并自由选择尺寸。