Null Attributed to Anne-Louis Girodet de Roucy-Trioson (Girodet) (French,1767-18…

Description

Attributed to Anne-Louis Girodet de Roucy-Trioson (Girodet) (French,1767-1824), Resting male nude holding a stick, Black chalk heightened with white on laid paper, 57 x 42 cm, framed and glazed 77.5 x 62 cm Understood to have been purchased from Sotheby's in 1980/81

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Attributed to Anne-Louis Girodet de Roucy-Trioson (Girodet) (French,1767-1824), Resting male nude holding a stick, Black chalk heightened with white on laid paper, 57 x 42 cm, framed and glazed 77.5 x 62 cm Understood to have been purchased from Sotheby's in 1980/81

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L. BERGER (1800) after GIRODET-TRIOSON (1767), Portrait of a woman, 1825, Lithography Léonard-François Berger (around 1800 Parisunkn. - 1872 Chalon-sur-Saône) after Anne-Louis Girodet-Trioson (1767 - 1824 ): Portrait of a woman in a light-coloured robe in a landscape, 1825, Lithography Technique: Lithography on Paper Inscription: lower left signed in the printing plate: "L Berger". At the lower part inscribed in the printing plate: "Lithographie d'apres un croquis de Girodet par L. B. son Eléve. Impr. lith. de Senefelder". lower left dated: "1825". Date: 1825 Description: On our sheet, the artist Léonard-François Berger, who was later active primarily in Burgundy, explicitly identifies himself as a pupil of Girodet-Trioson, who died in 1824. In doing so, he draws attention to a side of his teacher that was only duly rediscovered in the course of the Girodet exhibition at the Louvre in 2005. While the history painter was celebrated for works such as the visually stunning Ossian cycle and the Chateaubriand-inspired Burial of Atala, his late work emphasises his high quality as a sensitive portraitist. The model for the lithograph belongs to the studies surrounding the portrait of Madame Reisert (1823), which appears in a sketch from 1819 against a landscape background. In contrast to the representative formulae there, the model in our study appears in the mode of deshabillé and is extremely flirtatious. This creates a combination of intimacy and 'nature' that was typical of the type of female portrait in an open landscape coined by David around 1800, but which is given new accents here by the close-up view and the dusk. Berger translates the sinuous beauty lines of the figure and the chemise dress flowing around her into lines and scraped bands that overlay the shading hatching and achieve an almost autonomous expressive value. This creates a sensitive and feminine atmosphere from which the gaze and gestures create a close relationship with the male counterpart. Keywords: Empire, beauty, lady, fashion, costume, hairstyle, youth, 19th century, Classicism, Portraits, France, Size: Paper: 42,2 cm x 33,9 cm (16,6 x 13,3 in), Depiction: 29,9 cm x 22,0 cm (11,8 x 8,7 in)

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