Twee figurenstudies van een zittende en een staande mannelijk naakt 1801 - 1824

Théodore Géricault made this sketch of two male nudes using graphite on paper, sometime in the early 19th century. Now, graphite might seem like a straightforward choice, but think about what it represents: the industrialization of art. Mined and processed, then mixed with clay and baked, graphite pencils were a relatively new technology at the time, supplanting silverpoint and charcoal. They offered artists a consistent, readily available tool. Here, Géricault exploits graphite’s potential for both precision and shading, capturing the nuances of the human form. The sketch’s immediacy is palpable; you can sense the artist’s hand moving across the paper, quickly defining contours and suggesting depth. But we should also consider the economic context of this work. Graphite pencils, though revolutionary, were also a product of the burgeoning capitalist system, one which Géricault both benefited from and critiqued in his art. Considering the material and its implications allows us a richer understanding of this drawing and its place in art history.