Théodore Géricault on His Deathbed

Paris, Bernheim-Jeune Galerie, Exposition Géricault: Peintre et Dessinateur (1791-1824), May 10-29, 1937, cat. 44. The Art Institute of Chicago, Gros, Géricault, Delacroix, December 15, 1938-January 15, 1939, not included in catalogue, traveled to New York, Knoedler and Company, November 21-December 10, 1938; shown in Chicago only. Hartford, Conn., The Wadsworth Atheneum, Night Scenes, February 15-March 7, 1940, cat. 43. Paris, Musée de L’Orangerie, De David à Toulouse-Lautrec: Chefs d’Oeuvre des Collections Américaines, April 20-July, 1955, cat. 31, pl. 9. Cambridge, Mass., Fogg Art Museum, Sublimity and Sensibility: The Genesis of Romanticism, April 30-May 31, 1965, cat. 15. London, Victoria and Albert Museum, Berlioz and the Romantic Imagination, October 17-December 14, 1969, cat. 43. The Los Angeles County Museum Art, Géricault, October 12 - December 12, 1971, cat. 92 (ill.), traveled to The Detroit Institute of Arts, January 23-March 7, 1972 and Philadelphia Museum of Art, March 30-May 14, 1972. Chapel Hill, NC, The William Hayes Ackland Memorial Art Center, French Nineteenth Century Oil Sketches: David to Dégas, March 5-April 16, 1978, cat. 36 (ill.). Berlin, Staatliche Museen Preussischer Kulturbesitz, Bilder von Menschen in der Kunst des Abendlandes, July 5-September 28, 1980, cat. 12. Paris, Galeries nationales du Grand Palais, Gericault, October 10, 1991-January 6, 1992, cat. 183, ill. 220. Paris, France, Musée d'Orsay, Crime and Punishment, March 15- June 27, 2010, cat. 23.

Paul Adry, "L’Exposition Géricault," L’Amour de l’Art 18 (May 1937), p. 41. Klaus Berger, Gericault und sein Werk (Vienna, 1952), pl. 52, pp. 43, 72. (English trans. by Winslow Ames, (Vienna, 1955), pl. 52, pp. 53-55). Theodore Rousseau, "De David à Toulouse-Lautrec dans Les Collections Americains," Art et Style 34 (1955), n.p. Walter Friedländer, David to Delacroix (Cambridge, Massachusetts, 1952), p. 97ff, pl. 57. Denise Aimé-Azam, Mazeppa, Géricault and son temps (Paris, 1956), p. 216. P. Bouffard, "Théodore Géricault, Tête de Supplicié," Geneva 4 (November 1956), pp. 93-96. The Art Institute of Chicago, An Illustrated Guide to the Collections of the Art Institute of Chicago (Chicago, 1956), p. 33. Lorenz Eitner, “The Sale of Géricault’s Studio in 1924,” Gazette des Beaux-Arts 6 per, 53 (1959), p. 125, n. 20. The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), p.173, ill. p. 232. Antonio del Guercio, Géricault (Milan, 1963), p. 66. John Maxon, The Art Institute of Chicago (London, 1970), pp. 263, 281. Lorenz Eitner, Gericault’s Raft of the Medusa (London, 1972), p. 165, no. 82, pl. 92. Richard Brettell, French Salon Artists, 1800-1900 (Chicago, 1987), pp. 14, 15, 17, 117. C. Sells, "New Light on Gericault, His Travels and His Friends," Apollo (June 1986), pp. 394-95, fig. 6. Michel Schneider, Un Rêve de Pierre: Le Radeau de la Méduse, Géricault (Paris, 1991), p. 177-8. Nina Athanassoglou-Kallmyer, "Gericault’s Severed Heads and Limbs: The Politics and Aesthetics of the Scaffold," Art Bulletin 74 (1992), p. 615, fig. 21. Linda Nochlin. The Body in Pieces: The Fragment as Metaphor of Modernity (New York and London, 1994), pp. 22-23, fig. 18. Germain Bazin, Théodore Géricault: Étude crtique, documents et catalogue raisonné vol. 6 (Paris, 1994), p. 38. Danial Sangsue, “De Quelques têtes Coupées dans la Literature du XIX Siècle”, Crime & Châtiment, Exh. cat. (Musée d’Orsay, 2010), p. 81, cat. 23.