COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
CMA_.2000.71
amicoid
CMA_.2000.71
AMICA ID
false
AMICA Library Year:
2001
aly
2001
AMICA Library Year
false
Object Type:
Drawings and Watercolors
oty
Drawings and Watercolors
Object Type
false
Creator Name:
Girodet de Roucy-Trioson, Anne-Louis
crn
Girodet de Roucy-Trioson, Anne-Louis
Creator Name
false
Creator Nationality:
European; French
crc
European; French
Creator Nationality
false
Creator Role:
artist
crr
artist
Creator Role
false
Creator Dates/Places:
1767 - 1824
cdt
1767 - 1824
Creator Dates/Places
false
Biography:
On the advice of his architecture instructor Étienne-Louis Boullée (1728-1799), Girodet enrolled in the atelier of David (q.v.) in 1783 to study painting, working alongside other young artists like Gros (q.v.) and Jean-Baptiste-Joseph Wicar (1762-1834) who were also taught in David's neoclassical style. Girodet's early works display the influence of David in the linear and sculptural quality of his figures. After three consecutive years of competing for the Prix de Rome, he finally won at his fourth effort in 1789. Later that year the Revolution broke out in France and Girodet made numerous drawings of the fall of the Bastille. In 1790 he left for Italy where he stayed for five years. During that time his style changed and softened under the influence of the works of Leonardo (1452-1519) and Correggio (1489/94-1534). Girodet strove to be unique and original in his depictions and even went to great lengths to oppose David's neoclassicism. His new interest in atmospheric and light effects differed from that of his teacher. He made a name for himself at the Salon of 1793, with his submission of Sleep of Endymion (Musée du Louvre, Paris). After his return to Paris from Italy, Girodet became known as a portrait painter and accepted numerous commissions, but many of them were either late in delivery or never completed. Girodet's tendency to interpret commissions to prove his own originality often offended and alienated his patrons. He did not find official success at the Salon again until 1808 and produced little after 1815.
crb
On the advice of his architecture instructor Étienne-Louis Boullée (1728-1799), Girodet enrolled in the atelier of David (q.v.) in 1783 to study painting, working alongside other young artists like Gros (q.v.) and Jean-Baptiste-Joseph Wicar (1762-1834) who were also taught in David's neoclassical style. Girodet's early works display the influence of David in the linear and sculptural quality of his figures. After three consecutive years of competing for the Prix de Rome, he finally won at his fourth effort in 1789. Later that year the Revolution broke out in France and Girodet made numerous drawings of the fall of the Bastille. In 1790 he left for Italy where he stayed for five years. During that time his style changed and softened under the influence of the works of Leonardo (1452-1519) and Correggio (1489/94-1534). Girodet strove to be unique and original in his depictions and even went to great lengths to oppose David's neoclassicism. His new interest in atmospheric and light effects differed from that of his teacher. He made a name for himself at the Salon of 1793, with his submission of Sleep of Endymion (Musée du Louvre, Paris). After his return to Paris from Italy, Girodet became known as a portrait painter and accepted numerous commissions, but many of them were either late in delivery or never completed. Girodet's tendency to interpret commissions to prove his own originality often offended and alienated his patrons. He did not find official success at the Salon again until 1808 and produced little after 1815.
Biography
false
Gender:
M
cgn
M
Gender
false
Creator Birth Place:
Montargis, Loiret, 29 January 1767
cbp
Montargis, Loiret, 29 January 1767
Creator Birth Place
false
Creator Death Place:
Paris, 9 December 1824
cdp
Paris, 9 December 1824
Creator Death Place
false
Creator Name-CRT:
Anne-Louis Girodet de Roussy-Trioson
crt
Anne-Louis Girodet de Roussy-Trioson
Creator Name-CRT
false
Title:
Le Serment des sept chefs devant Thèbes
otn
Le Serment des sept chefs devant Thèbes
Title
false
Title Type:
Foreign
ott
Foreign
Title Type
false
Title:
The Oath of the Seven Chiefs against Thebes
otn
The Oath of the Seven Chiefs against Thebes
Title
false
Title Type:
Primary
ott
Primary
Title Type
false
View:
Full View
rid
Full View
View
false
Creation Date:
c. 1800
oct
c. 1800
Creation Date
false
Creation Start Date:
1795
ocs
1795
Creation Start Date
false
Creation End Date:
1805
oce
1805
Creation End Date
false
Materials and Techniques:
black and white chalk with stumping
omd
black and white chalk with stumping
Materials and Techniques
false
Classification Term:
Drawing
clt
Drawing
Classification Term
false
Dimensions:
Overall: 41.8cm x 62cm
met
Overall: 41.8cm x 62cm
Dimensions
false
AMICA Contributor:
The Cleveland Museum of Art
oon
The Cleveland Museum of Art
AMICA Contributor
false
Owner Location:
Cleveland, Ohio, USA
oop
Cleveland, Ohio, USA
Owner Location
false
ID Number:
2000.71
ooa
2000.71
ID Number
false
Credit Line:
Purchase from the J. H. Wade Fund
ooc
Purchase from the J. H. Wade Fund
Credit Line
false
Inscriptions:
The number 29 (est.) is inscribed along the bottom edge in graphite (over black chalk?)
oin
The number 29 (est.) is inscribed along the bottom edge in graphite (over black chalk?)
Inscriptions
false
Rights:
orl
<a href="http://www.clemusart.com/museum/disclaim2.html"target="_new">http://www.clemusart.com/museum/disclaim2.html</a>
Rights
false
Context:
Anne-Louis Girodet was one of the most important pupils of Jacques-Louis David (1748-1825). Although Girodet became a major figure in the neoclassical movement, his originality as a painter marked a significant break with his master and pointed ahead to the romantic trends developing in European art in the early 19th century.This subject of this drawing comes from the Greek playwright Aeschylus's tragedy of the same title. The play recounts the war between the cities of Thebes and Argos, brought about by a conflict between rival sons of King Oedipus. The passage in the play that inspired Girodet describes seven warriors from Argos, each an army leader, who together "slaughtered a bull over a black shield, and then touching the bull's gore with their hands?swore an oath" to defeat Thebes. The drawing emphasizes the drama of this moment, with the idealized nude soldiers focusing their physical energy on the bull in a unified gesture, while also turning to the statues of the gods of war, Ares and Enya, at the far left.
cxd
Anne-Louis Girodet was one of the most important pupils of Jacques-Louis David (1748-1825). Although Girodet became a major figure in the neoclassical movement, his originality as a painter marked a significant break with his master and pointed ahead to the romantic trends developing in European art in the early 19th century.This subject of this drawing comes from the Greek playwright Aeschylus's tragedy of the same title. The play recounts the war between the cities of Thebes and Argos, brought about by a conflict between rival sons of King Oedipus. The passage in the play that inspired Girodet describes seven warriors from Argos, each an army leader, who together "slaughtered a bull over a black shield, and then touching the bull's gore with their hands?swore an oath" to defeat Thebes. The drawing emphasizes the drama of this moment, with the idealized nude soldiers focusing their physical energy on the bull in a unified gesture, while also turning to the statues of the gods of war, Ares and Enya, at the far left.
Context
false
Related Image Identifier Link:
CMA_.2000.71.tif
ril
CMA_.2000.71.tif
Related Image Identifier Link
false