Gros & Girodet. Crossing paths.
Lienart| N° d'inventaire | 33123 |
| Format | 25 x 28.5 |
| Détails | 304 p., numerous color figs., publisher's hardcover |
| Publication | Paris, 2025 |
| Etat | Nine |
| ISBN | 9782359064575 |
Celebrating the friend through the friend is the premise of this book, which explores what Gros's art shares with Girodet's. It presents the challenges of these two careers, which intertwined at the very beginning of the 19th century. Antoine-Jean Gros (1771-1835) was the most faithful classmate and one of the best friends of Anne-Louis Girodet, known as Girodet-Trioson (1767-1824). The famous speech he improvised amidst tears at Girodet's grave has remained a symbol of romantic sensitivity and affection that was as sincere as it was unique. The Inventories after the Death of Gros and Girodet, published jointly in 2002, demonstrated the fraternity of their networks within the phalanx of the "four Gs" (Guérin, Girodet, Gérard, Gros), as contemporary critics called it. Their journeys in Italy and their shared aspiration to renew the representation of battles had already been highlighted during exhibitions at the Girodet Museum. Here, in a more ambitious and in-depth manner, the book illustrates these crossed influences, these shared works and tastes so important for 19th-century art, with Girodet's exclamation as a common thread: "Gros is happy, he has the wrist of his talent" and as emblems the self-portraits that the two artists exchanged before parting ways in Italy in 1794.
Celebrating the friend through the friend is the premise of this book, which explores what Gros's art shares with Girodet's. It presents the challenges of these two careers, which intertwined at the very beginning of the 19th century. Antoine-Jean Gros (1771-1835) was the most faithful classmate and one of the best friends of Anne-Louis Girodet, known as Girodet-Trioson (1767-1824). The famous speech he improvised amidst tears at Girodet's grave has remained a symbol of romantic sensitivity and affection that was as sincere as it was unique. The Inventories after the Death of Gros and Girodet, published jointly in 2002, demonstrated the fraternity of their networks within the phalanx of the "four Gs" (Guérin, Girodet, Gérard, Gros), as contemporary critics called it. Their journeys in Italy and their shared aspiration to renew the representation of battles had already been highlighted during exhibitions at the Girodet Museum. Here, in a more ambitious and in-depth manner, the book illustrates these crossed influences, these shared works and tastes so important for 19th-century art, with Girodet's exclamation as a common thread: "Gros is happy, he has the wrist of his talent" and as emblems the self-portraits that the two artists exchanged before parting ways in Italy in 1794.