The Wounded Cuirassier, study (Le Cuirassier blessé quittant le feu, esquisse) Théodore Géricault (French, 1791-1829). The Wounded Cuirassier, study (Le Cuirassier blessé quittant le feu, esquisse), 1814. Oil on canvas, 21 3/4 x 18 1/8 in. ( x 46 cm). Here, a soldier in Emperor Napoleon’s cavalry leads his horse downhill, looking back at a dark, ominous sky. The composition’s repeated diagonals—the outstretched legs of man and horse, the sword, and the slope of the rough terrain—heighten the scene’s physical and psychological tension. Brooklyn’s canvas is a study for a large painting (now
The Wounded Cuirassier, study (Le Cuirassier blessé quittant le feu, esquisse) Théodore Géricault (French, 1791-1829). The Wounded Cuirassier, study (Le Cuirassier blessé quittant le feu, esquisse), 1814. Oil on canvas, 21 3/4 x 18 1/8 in. ( x 46 cm). Here, a soldier in Emperor Napoleon’s cavalry leads his horse downhill, looking back at a dark, ominous sky. The composition’s repeated diagonals—the outstretched legs of man and horse, the sword, and the slope of the rough terrain—heighten the scene’s physical and psychological tension. Brooklyn’s canvas is a study for a large painting (now at the Louvre) that Théodore Géricault exhibited at the 1814 Salon in Paris, after Napoleon had been deposed and exiled to Elba earlier that year. European Art 1814
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