Théodore GERICAULT (Rouen 1791 - Paris 1824)
Study of a Lion at Rest
Pen and brown ink and grey wash, with touches of red wash and pencil. Laid down.99 x 117 mm. (3 7/8 x 4 5/8 in.)ENQUIRE
Gericault seems to have been interested in lions from early in his career, as his student sketchbooks include copies after Rubens’s paintings of lion hunts. He was also fascinated by the subject of a horse being attacked by a lion, a theme he would have known from prints after George Stubbs’s paintings of lions and horses in combat which he knew and copied even before his stay in England in 1820-1821. As the Gericault scholar Lorenz Eitner has written of the artist, ‘He shared his fascinated admiration for beasts of prey with other French artists of his generation, notably with Delacroix and Barye. The struggle between animals, or between men and animals, is a theme which runs through all his work. It clearly was something more to him than a picturesque spectacle; the untamed animal seems to have embodied for him the very force and fatality of nature.’This small but powerful drawing of a lion by Gericault, almost certainly drawn from life, probably dates from the artist’s stay in London in 1820 and 1821. Inspired by the works of Stubbs, Edwin Landseer and James Ward, Gericault made several drawings after wild animals in the London Zoo, with a particular emphasis on lions. Most of his surviving studies of lions seem to have been trimmed from larger sheets, and it has been suggested that many of them may have once been part of a sketchbook used by the artist during his English period. Among stylistically comparable watercolour studies of lions by Gericault are a drawing of a Lion and Lioness in the Louvre and a Study of a Lion in the Musée des Beaux-Arts, Dijon. Seated lions, depicted in profile to the left, are also found in drawings executed in pen alone, such as a drawing in the Musée Bonnat-Helleu in Bayonne and a sheet of studies in the Ecole des Beaux-Arts in Paris, while a similar head of a lion in profile occurs in a black chalk drawing of the heads of two lions in the Musée Bonnat-Helleu. A small pencil sketch of the head of a seated lion facing left, in a private collection, is close to the present sheet in composition. As Lorenz Eitner has noted, ‘Géricault’s life studies of lions, tigers and leopards are numerous and difficult to date. On grounds of style, the many rapid pencil sketches and the occasional, more elaborately worked up wash and watercolour drawings would seem to fit best into the English years, or the period immediately after…These splendidly realistic pencil sketches, finished with broad washes of watercolour, exemplify – as impressively as any of his human subjects of the time – his powers of physiognomic observation.’ The first owner of this drawing was the painter Louise Marie Becq de Fouquières (1824-1891), the youngest sister of the painter Alfred De Dreux, a disciple of Gericault. In 1847, following the death of her elder sister Elise the previous year, Louise married Elise’s widowed husband, Aimé Napoléon Victor Becq de Fouquières. Louise Becq de Fouquières studied with the painter Isidore Pils and exhibited her work at the Salons between 1857 and 1884. Among her closest friends was Gericault’s natural son, Georges-Hippolyte Gericault (1818-1882), with whom she maintained an extensive correspondence, and from whom she may have acquired this drawing. The present sheet was lent by her to an exhibition at the Ecole des Beaux-Arts in Paris in 1884, when it was one of four small drawings framed together. These drawings were eventually inherited by her grandson, André de Fouquières (1875-1959).
Possibly the artist’s illegitimate son, Georges-Hippolyte Gericault, ParisLouise Marie Becq de Fouquières, ParisBy descent to her grandson, André de Fouquières, ParisGeorges Renand, ParisThence by descent until 1988Renand sale, Paris, Hôtel Drouot, 15 March 1988, lot 25Private collection.
Germain Bazin, Théodore Géricault: Étude critique, documents et catalogue raisonné, Vol.VII; Regard social et politique: Le séjour anglais et les heures de souffrance, Paris, 1997, p.31 and p.144, no.2330.