THEODORE GERICAULT
Rouen I79i-Paris 1824
Gericault studied informally with the painter Carl Vernet
from 1808 until 1810 and then briefly with Pierre Guérin.
The young Gericault spent much time in the galleries of
the Louvre, making copies after old master pictures. He
received a gold medal from the Salon in 1812 for the
Charging Chasseur (Louvre). In 1814 he followed that
work with Wounded Cuirassier (Louvre), which was un-
favorably reviewed at the Salon. In 1816, after being dis-
qualified for competition in the Prix de Rome, Gericault
traveled to Italy using his own funds. On his return to
Paris in 1817, he started making lithographs of contem-
porary subjects. In 1818 he began preliminary studies for
his masterpiece, the Raft of the Medusa (1819; Louvre),
which, when exhibited at the Salon of 1819, created a fu-
ror and earned him another gold medal. Unable to sell
the painting, he took it to London and exhibited it to the
public. He returned to France in late 1821 and began
working on the Monomaniacs series of portraits, which
included Portrait of an Insane Woman of circa 1822 (Lyons,
Musée des Beaux-Arts). Gericault suffered from ill
health, and this, coupled with several falls from horses,
caused his death at the age of thirty-two.JACQUES DE GHEYN II
Antwerp 1565-The Hague 1629
Jacques de Gheyn II was first trained by his father, a glass
painter and printmaker. After the elder de Gheyn s death
in 1581, Jacques II moved to the north Netherlands,
where he entered the workshop of Hendrick Goltzius in
Haarlem circa 1585. Early engravings such as An Infantry
Captain of 1589 exhibit the minute technique de Gheyn
learned from Goltzius. During this period he made en-
gravings after works by a number of Mannerist artists.
By 1591 he had established himself in Amsterdam as an
independent printmaker, receiving his first official com-
mission from the Amsterdam burgomasters in 1593 for
the engraving The Siege of Geertruidenberg. De Gheyn
married the wealthy Eva Stalpaert van der Wiele in 1595
and soon moved to Leiden. There his friends included the
intelligentsia associated with the university, such as the
botanist Carolus Clusius, whom he portrayed in an en-
graving of 1600. By 1603 de Gheyn had moved perma-
nently to the Hague. Among the most important prints
he produced around this time was the series entitled The
Exercise of Armes for Galwres Muskettes and Pikes ... of
1607, commissioned by Count Jan van Nassau-Siegen,
nephew of the stadtholder, Prince Maurits. De Gheyn
took up painting circa 1600 and was especially noted for
his floral still lifes, which are among the earliest produced
in the north Netherlands. The most innovative part of
his oeuvre consists of his drawings, which treat a range
of themes, from fanciful scenes with witches or gypsies,
to natural history studies, to sketches of domestic life
foreshadowing those of Rembrandt.GIULIO ROMANO (Giulio Pippi)
Rome circa 1499-Mantua 1546
Giulio trained as an assistant in Raphael's workshop and
later collaborated with the master on several projects, in-
cluding the Stanza dell'Incendio in the Vatican, which
was finished in 1519, and the Loggia di Psiche of 1518-
19 in the Villa Farnesina. In 1524 he moved to Mantua to
work for the court of Federico II Gonzaga. There the art-
ist created his most celebrated works, including the con-
struction and decoration of the pleasure palace of the
Mantuan court, the Palazzo del Te, between 1524 and- The bizarre narrative decorations, such as those in
the Sala dei Giganti, are prime examples of Mannerist art
in Italy. In 1536 Giulio began the reconstruction and dec-
oration of portions of the Palazzo Ducale, including the
Sala di Troia and Sala dei Cavalli. The construction of his
own palace (1544) was one of the last projects he com-
pleted before his death.
HENDRICK GOLTZIUS
Mühlbracht 15 5 8-Haarlem 1617
Goltzius was trained by his father and in 1575 became an
apprentice to the engraver Dirk Volkertsz. Coornhert in
Xanten. In 1576/77 he moved to Haarlem, where, during
the 15805, he may have begun an informal academy to
foster the practice of figure drawing. Goltzius's work of
the later 15805 was greatly influenced by Bartholomeus
Spranger, whose style he disseminated through engrav-
ings after Spranger's drawings, such as the Marriage of
Amor and Psyche of 1587. During 1590/91 Goltzius trav-
eled to Venice, Bologna, Florence, Naples, and Rome,
studying antique sculpture and the works of Raphael,
Titian, and other Renaissance masters. After his return
to Haarlem he turned away from Mannerism toward a
more classical style. He was productive as a draughtsman
and printmaker during the 15905, but after 1600 he vir-
tually gave up engraving for history painting. His fame
rests on his work as a printmaker and draughtsman. Of
particular importance for the later development of
Dutch art were his drawings of the dunes around Haar-
lem of circa 1600, among the earliest depictions of the
Dutch landscape.334 ARTISTS BIOGRAPHIES