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Anne-Louis Girodet de Roussy-Trioson

French painter (1767–1824)

Anne-Louis Girodet de Roussy-Trioson
Summary

French painter (1767–1824)

FieldValue
nameAnne-Louis Girodet-Trioson
imageAnne-Louis Girodet autoportrait.jpg
captionSelf-portrait, 1790, Hermitage Museum
birth_nameAnne-Louis Girodet de Roussy-Trioson
birth_date
birth_placeMontargis, Orléanais, France
death_date
death_placeParis, France
resting_placePère Lachaise Cemetery
fieldPainting
movementNeoclassicism, Romanticism
worksOssian receiving the ghosts of the fallen French Heroes, 1801; The Funeral of Atala, 1808; Portrait de Chateaubriand méditant sur les ruines de Rome, after 1808

Anne-Louis Girodet de Roussy-Trioson (; or de Roucy), also known as Anne-Louis Girodet-Trioson or simply Girodet (29 January 17679 December 1824), was a French painter and pupil of Jacques-Louis David, who participated in the early Romantic movement by including elements of eroticism in his paintings. Girodet is remembered for his precise and clear style and for his paintings of members of the Napoleonic family.

Early career

Girodet was born at Montargis. Both of his parents died when he was a young adult. The care of his inheritance and education fell to his guardian, a prominent physician named Benoît-François Trioson, "médecin-de-mesdames", who later adopted him. The two men remained close throughout their lives and Girodet took the surname Trioson in 1812. He changed to the study of painting under a teacher named Luquin and then entered the school of Jacques-Louis David. At the age of 22 he successfully competed for the Prix de Rome with a painting of the Story of Joseph and his Brethren. From 1789 to 1793 he lived in Italy and while in Rome he painted his Hippocrate refusant les presents d'Artaxerxes and Endymion-dormant (now in the Louvre), a work which gained him great acclaim at the Salon of 1793 and secured his reputation as a leading painter in the French school.

''[[Scene from a Deluge]]'' (''Une scène de déluge''), 1806, [[Louvre]], Paris
Endymion]]'' (''Le Sommeil d'Endymion'' or ''Effet de lune''), 1791, [[Louvre

Once he returned to France, Girodet painted many portraits, including some of members of the Bonaparte family. In 1806, in competition with the Sabines of David, he exhibited his ** (Louvre), which was awarded the decennial prize.

Later life

Self-portrait from 1824, [[Musée des Beaux-Arts d'Orléans
Atala]]'' (''Funérailles d'Atala'' or ''Atala au tombeau''), 1808, Louvre

Girodet was a member of the Academy of Painting and of the Institut de France, a knight of the Order of Saint Michael, and officer of the Legion of Honour.

In his forties his powers began to fail, and his habit of working at night and other excesses weakened his constitution. In the Salon of 1812 he exhibited only a Tête de Vierge; in 1819 Pygmalion et Galatée showed a further decline of strength. In 1824, the year in which he produced his portraits of Cathelineau and Bonchamps, Girodet died on December 9 in Paris. At a sale of his effects after his death, some of his drawings realized enormous prices.

Tomb at [[Père Lachaise

Posthumously published work

Bust of the painter (1827) by [[Jean-Baptiste Roman]], Louvre

Girodet produced a vast quantity of illustrations, amongst which may be cited those for the Didot editions of the works of Virgil (1798) and Racine (1801–1805). Fifty-four of his designs for the works of the ancient Greek poet Anacreon were engraved by M. Châtillon. Girodet used much of his time on literary composition. His poem Le Peintre (rather a string of commonplaces), together with poor imitations of classical poets, and essays on Le Génie and La Grâce, were published posthumously in 1829, with a biographical notice by his friend Coupin de la Couperie. Delecluze, in his Louis David et son temps, has also a brief life of Girodet.

Girodet: Romantic Rebel was the first retrospective in the United States devoted to the works of Anne-Louis Girodet de Roussy-Trioson; the exhibition was initiated by the Cleveland Museum of Art and organized by the Musée du Louvre and the Réunion des Musées Nationaux, Paris, in collaboration with the Art Institute of Chicago, the Metropolitan Museum of Art, New York, and the Montreal Museum of Fine Arts, in cooperation with the Musée Girodet, Montargis. The exhibition assembled more than 100 seminal works (about 60 paintings and 40 drawings) that demonstrated the artist's range as a painter as well as a draftsman. The exhibit was shown at the Art Institute of Chicago (February 11–April 30, 2006), Musée du Louvre (September 22, 2005–January 2, 2006), the Metropolitan Museum of Art (May 24–August 27, 2006) and the Montreal Museum of Fine Arts (October 12, 2006–January 21, 2007).

Analysis of the works

Girodet was trained in the neoclassical style of his teacher, Jacques-Louis David, seen in his treatment of the male nude body and his reference to models from the Renaissance and Classical antiquity. However, he also deviated from this style in several ways. The peculiarities which mark Girodet's position as the herald of the romantic movement are already evident in his Sleep of Endymion (1791, also called Effet de lune or "effect of the Moon"). Although the subject matter and pose are inspired by classical precedents, Girodet's diffuse lighting is more theatrical and atmospheric. The androgynous depiction of the sleeping shepherd Endymion is also noteworthy. These early romantic effects were even more notable in his Ossian, exhibited in 1802. Girodet portrayed recently killed Napoleonic soldiers being welcomed into Valhalla by the fictional bard Ossian. The painting is striking for its inclusion of phosphorescent meteors, vaporous luminosity, and spectral protagonists.

The same coupling of classic and romantic elements marks Girodet's Danae (1799) and his Quatre Saisons, executed for the king of Spain (repeated for Compiègne), and shows itself to a ludicrous extent in his Fingal (Leuchtenberg collection, St. Petersburg), executed for Napoleon in 1802. Girodet can be seen here combining aspects of his classical training and traditional education with new literary trends, popular scientific spectacles, and a consummate interest in the strange and the bizarre. In this way his work announces the rise of a romantic aesthetic which prizes individuality, expression, and imagination over an adherence to classical academic precedents.

References

References

  1. Long, George. (1851) ''The Supplement to the Penny Cyclopædia of the Society for the Diffusion of Useful Knowledge'', C. Knight.
  2. 2-8041-1526-7.
  3. Heck, Johann Georg. (1860) ''Iconographic Encyclopaedia of Science'', D. Appleton and company.
  4. "Girodet: Romantic Rebel". [[Art Institute of Chicago]].
  5. "Girodet".
  6. (1996). "Making Trouble for Art History: The Queer Case of Girodet". Art Journal.
  7. (2018). "Girodet's Galvanized Bodies". Art History.
Wikipedia Source

This article was imported from Wikipedia and is available under the Creative Commons Attribution-ShareAlike 4.0 License. Content has been adapted to SurfDoc format. Original contributors can be found on the article history page.

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