Géricault y un traveje a los ojos de la locura

Theodore Géricault and a trip to the eyes of the locura

In 1824, in Paris, sea Theodore Géricault the 32 years. Pasó su ul útimos dias postrado, enfermo y debil tras haber tenido un accidente (otro) con un caballo. It will be a dead death with some hope for an artist of intense life, a man enamored with the horror of his passions, and the cavaliers are one of them.

Cuarenta años después, en un desván alemán, olvidado y en mal estado, se encontró un quadro, un retrato que parecía entonces uno maś a tal punto que el Louvre lo recáçó por ordinario, pero era una de esas obras que marçó un antés y un because of the art that opens the door to new boards and that has repercussions in artists like Egon Schiele o Lucien Freud.

Se lo llamó a la obra The asshole locoluego el The kleptomaniac y hoy se le conoce como El obseso del robo. This oil, about 61.2 × 50.2 cm, is an obscure piece in which a man contemplates nothing, with the tornado head in the open; I have a search for efficiency through the artist’s part, his expressions are anodized, algae amargadas, and in his eyes he can transmit the monotony of an existential existence. Only a man, another man.

“El acesino loco”, “El cleptómano” and hoy “El obseso del robo”

But we know our name. He is an anonymous immortal one of the six most obsessed people (o por lo menos que se sepa) sober esa serie de 10 llamada Monomanias, which is a great precursor of romanticism realized through some of the emblematic interns of the Salpétriere Hospital. These are quadruplets, more people, other men, you have a caretaker of 200 years.

Painted in 1822, The kleptomaniac, which is located in the Belgian Museo de Bellas Artes de Gante, is one of the ultimate pieces of aquellos readings that, for example, humanized, and that entonces consider mental illnesses, alienados; retract that the representative as the newspaper with any other person, breaking with the cadences of social condensation, and enter into a topic that has become unmanageable in opportunities.

“Extraction of the stone of the locus” and “The nave of the locus”, by El Bosco

For about 1500 approximately, El Bosco realizaba La nave de los locos, an allegorical piece (and not so much) with a social critique about human humankind, deviado de los interests of morals, lost in the game, the baby and the place, with a special effect on the clero, which occupies the center of the stage. In those times, and also before, there are no entrails within the accepted partners, as prostitutes or beads, they are expelled from the people, including the embargoed times without tripling to death. Tambéen se decaca del mismo autor Extraction of the stone of the locurawhich shows a surgical operation performed by Edad Media in the case of an extinct rock, the culprit of the deviations.

One year before the series Monomanias, Francisco de Goyafor your own property or visiting families, realized Corral de locos (1793) y House of locos (1812-1819), piezas en las que se centraba en cómo se vivía en un psychiatric hospital en el Siglo de las Luces.

“Casa de locos”, de Goya

Jean-Louis André Théodore Géricault (Rouen, 1791) pinto solo for a decade, como van Gogh. Escapó al neoclacisimo imperante y prefirió las obras que le interesan por sobre los encargos. And because of this, there are plenty of places of interest, in the end of the evening there are also more families that are accommodated, with a banker and a descendant of a Normandy family. It sounds like it was realized because of the many fires destroying the bombers of the Second Guerra.

Cosa de locos

Hercules realized the series Monomanias between 1918 and 1924 in Salpêtrière, which was founded in 1656, and which was the first and largest establishment of the General Hospital of Paris, the institution destined for the “confinement” of the world, and in its decades of existence. convirtó en una prisíón para mujeres -libertinas, prostitutas y otras- que esperaban su momento para ser expatriadas con dirección a América, a Canadá en especial, para casarse y contribute i assentamiento de la Nueva Francia.

In the decades, the Salpêtrière alojaba no solo a the Venetians, I also remember me, criminals, ancients, huerfanos and any person who does not enter the parameters of social conduct. La Salpêtrière fue tanto un lugar de studio como un centro de represión de todo lo que el pensianiento racionalista de la Ilustración no aceptaba.

En History of the locus in the classical era, Foucault desarrolla cómo en el XIX la locura seguía asociada a las cuestiones morales, aunque ya no se embarcaba a las personas discordantes con destino fatal o hacia el nuevo continente.

“Conduction of the Prostitutes in Salpêtrière” (1755), by Étienne Jeaurat

The advanced advances and intellectuals have created the hospitals, spaces of power (Reino o Estado) that tomaban tareas que antes se realizaban desle la Iglesia, y que se encargaban de redireccionar la vida de los vagabundos, lositetu la les system of punishment and compensation that mantuvieron hasta el XX.

An eminence in these new treatments for the French Philippe Pinelquien en la Salpêtrière liberó de las cadenas, literalmente, a las internadas y clasifikaó a las enfermedades mental en cuatro tipos: mania, melancolía, idiocia y dementia, y habló por primera vez de la herencia y la influencia del ambiente.

The alienist Pinel, además, established the foundations of modern psychiatric diagnosis and provided the creation of a specialized body, which includes treatments such as the spirit of hell and the use of fire suits. In 1876, for the motif of the 50 years of his death, the painter Tony Robert-Fleury immortalization of the medical en Philippe Pinel, in La Salpêtrière, liberating from his cadence to a patient.

“Philippe Pinel, en La Salpêtrière, liberando de sus cadenas a una pacient”, by Tony Robert-Fleury

Pinel’s door in the hospital Étienne-Jean Georgetwho wanted to treat Géricault by his melancholy and who took the series Monomaniaa decimon term to design a type of paranoia in which the patient is obsessed with a single idea.

When Georget lovo convocó, el artist no atravesaba un buen momento económico debido a malas inversiones. I was a recognized artist from the point of view that he had a scene in the art scene with which he had written more, El naufragio de la Medusa o The balm of Medusa (1818-1819), in which it represents a tragic episode in the history of the colonial marina as the day of the destruction of the Medusa fragment.

Para el monumental cuadro de 491 cm × 717 cm, que fue tanto aclamada como criticada en su presentationa el el Salon del ’19, el pintor reconstruio la embarcación, interrevistó a sobrevivientes del desastre, visito morgues y hospitales donde pudo ver cómo era la texture of the pile of the moribundos, the eyes of the disgraced by degradation and desperation. You are sleeping in your hands to your friend Georget.

El naufragio de la Medusa
El naufragio de la Medusa

Tras la Georerte de Georget Monomanias report between the alienist disciplines: Lachèze y Marèchal. In 1863 the historian Louis Viardot there is the constancy of the existence of the five locks of Lachèze on a map enviada a Newspaper of beautiful arts where descriptions of contemplative thoughts in the attic represent cleptomania, envidia, ludopatija, pedophilia and megolomania o delirios de grandeza.

Maréchal llevó sus 5 obras a Inglaterra, donde se les perdió el rastro. Are you looking for a place to stay in a private collection, in a cast castle, or to get a quiz in a different place? You are trying to find the Spanish Spanish Javier Burgosauthor of Geography of the place, who in 2017 commented on a search of obsessive-compulsive disorder: their real monomania. In the year of this year, it was published in the scientific publication The Lancet have found a sixth pieza, melancholy, in a private Italian collection.

“Homo melancólico”, the sixth pieza de las Monomanías

“He identified one of the reprimands of Géricault Desaparecidos, which is actually found in a private collection in Italy. The painting was shown in an exhibition in Ravenna (Italy) in 2013, together with other works by Géricault, Le medécin chef de l’asile de Bouffon. The title of the new issue, which is a reference in the official catalog of the exhibition, is Retirement of a man. Melancholy man. El tamaño de este retrato es congruente con las otras cinco pinturas; the composition is similar (it is said, a roster illuminated about a background); and the retreat has seen a religious dress (modesta casulla) of a color similar to the red pawn of the retreat which represents the envidia ”.

“The title of the contract suggests that it corresponds to the truth (melancholy), as described by the French psychiatrist Dominique Esquirol, quien fue el mentor de Georget. The case is confirmed by the presence of arguments in the intervention of the retired patient, adding the classic omega sign (omega melancholicum), which is described by the German psychiatrist Heinrich Schüle as a distinctive distinction of melancholy ”, written in the publication.

“La Hiena de la Salpêtrière”, “Monomaniaco con delirios de mando militar”, “El pedófilo” and “Monomaniaco del juego”

Here, the melancholy summed up the other paintings that were found in different museums: La Hiena de la Salpêtrière o The monomania of envidia (1819 – 1822), the most powerful of all the pieces in the representation of an anciana of miranda violenta, with an expression of income and that elucubrar algubran algún pensamiento maligno, y se encuentra en el Bellas Artes de Lyon.

The Louvre is sitting Monomaniac of the game o The monomaniac loca (1819-1824), mintras que el museo suizo Oskar Reinhart aloja al A monomaniac with military delirium deliriums o Alienado (1791–1824), y el Bellas Artes de Springfield, Massachusetts, posee The pedophile o el Raptor of menors (1823).

Géricault reproduces human expression with fine details, without imagination, and in many pieces of detail, the key is in the world, something that has not been exchanged for more time.

Let’s go back to other eyes and also watch. Follow the queen, follow the queen. La mirada delata nuestras intenciones, nuestros deseos y naufragamos en las pupilas del amor o evitamos el contacto cuando no queremos reconocer al otro, el poder de ignorar lo que decidimos que no exista. In your pictures, is there a confrontation, this recognition, who as a sign of alienation, but who? Inter De los internos o la nuestra coo spectadores social?


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