Study for ‘Swiss Sentry at the Louvre’ c. 1819

Théodore Géricault made this study for 'Swiss Sentry at the Louvre' with graphite on paper. At first glance, the sketch feels unfinished, a mere scaffolding of what was intended, yet there is an undeniable presence in the figure's posture, his gaze directed off to the side. Géricault masterfully uses line to define the figure’s contours and interior details. Notice how the precision varies: the face and the medal are rendered with tighter, more deliberate strokes, drawing our eye to these focal points. The use of hatching and cross-hatching suggests volume and shadow, but there is no attempt to fully realize three-dimensionality. The sketch is less about capturing the external reality of the Swiss guard and more about the underlying structure. Géricault's formal approach invites us to consider the act of seeing and representing rather than the subject itself. What we are left with is a powerful meditation on form, line, and the very essence of representation.