119–21, concludes that the MMA and Petit Palais pictures are unlikely to have been included in no. "The Sale of Gericault's Studio in 1824." Gazette des beaux-arts 53 (February 1959), pp.
126, dates this and the Petit Palais work March 1816. 16 of his catalogue states that the two pictures represent spring and autumn, as well as morning and evening finds them to be closer to the tradition of Claude than to that of Dughet dates them to just before Gericault's departure for Italy in 1816 finds this picture to be more traditional in composition, mood, and technique than the Petit Palais work, and believes that "Evening" was probably painted first. 2–3 (overall and detail), calls it "Evening" and lists it as in a private collection calls the Petit Palais picture "Morning" identifies them as the two works listed by Clément under no. "Two Unknown Landscapes by Gericault." Burlington Magazine 96 (August 1954), pp.
"Gericault at Winterthur." Burlington Magazine 96 (August 1954), p. 16 dates them probably 1814–16 on the basis of style and comparison with related landscapes and drawings mentions a sheet of drawings (actually studies for the picture "Morning," Neue Pinakothek, Munich) then in the collection of Pierre Dubaut, Paris (Musée des Beaux-Arts, Dijon) which he states includes the same tree that appears at the upper left of this picture discusses the connection of the MMA and Paris works to the existing traditions of landscape painting in France. 16 in Clément's catalogue, and this picture as the pendant mentioned under no. 2, calls it "Ideal Landscape," and locates it in a private collection, Paris identifies the "Landscape with a Roman Tomb" (Musée du Petit Palais, Paris) as no. "Two Rediscovered Landscapes by Gericault and the Chronology of His Early Work." Art Bulletin 36 (June 1954), pp. Géricault, étude biographique et critique avec le catalogue raisonné de l'œuvre du maitre. Géricault: étude biographique et critique avec le catalogue raisonné de l'oeuvre du maître. Dornan, and the other, which friends had seen for a long time in Gericault's studio, but of which Clément can find no trace, possibly this picture. 235, mentions two landscapes "en hauteur," in the manner of "Guaspre", one which represents fishermen putting a boat into the water, in the collection of M. "Géricault (1er article)." Gazette des beaux-arts 22 (March 1, 1867), p. 13, under the heading "Peintures (1810 à 1812)," mentions a pendant to the work now in Munich as a painting (possibly this picture) which is unknown to him, but which was in Gericault's studio during the execution of "The Raft of the Medusa" (Musée du Louvre, Paris). "Catalogue de l'œuvre de Gericault-Peinture." Gazette des beaux-arts 23 (September 1, 1867), p. "The Philippe de Montebello Years: Curators Celebrate Three Decades of Acquisitions," October 24, 2008–February 1, 2009, online catalogue.Ĭharles Clément. Jahrhunderts aus dem Metropolitan Museum of Art," June 1–October 7, 2007, unnumbered cat. "The Masterpieces of French Painting from The Metropolitan Museum of Art: 1800–1920," February 4–May 6, 2007, no. 161 (as "Paysage à l'aqueduc" dit "Le soir"). 11 (as "Evening: Landscape with an Aqueduct"). "Gericault's Heroic Landscapes: The Times of Day," November 6, 1990–January 13, 1991, no. "French Paintings from the Chrysler Museum," November 6, 1986–January 18, 1987, no.
"French Paintings from the Chrysler Museum," May 31–September 14, 1986, no. 14 (lent from the collection of Walter P. "French Landscape Painters from Four Centuries," October 20, 1965–January 9, 1966, no. "French Paintings 1789–1929 from the Collection of Walter P. "Paintings from Private Collections: Summer Loan Exhibition," July 1–September 1, 1958, no. "Paintings from the Collection of Walter P. California Palace of the Legion of Honor. 70 (as "Paysage d'Italie au coucher du soleil").
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