Seated lion 1812 - 1814

Editor: So here we have Gericault's "Seated Lion," a pencil drawing from around 1812-1814. It feels…unfinished, almost like a fleeting impression. What do you see in this work? Curator: Beyond a study of form, this drawing presents a compelling subject within the context of Romanticism. How does this representation of the lion depart from earlier depictions, perhaps those lions of the Renaissance, typically symbols of power and nobility? Editor: Well, it definitely lacks that idealized grandeur. It looks much more…vulnerable? Curator: Exactly. Gericault’s lion captures the changing perceptions of power. This piece reflects on the implications of colonial expansion, perhaps challenging Western ideas of dominion? The Romantic artists questioned established power structures; this lion becomes a commentary on social control and political power. Do you feel that the rapid, unfinished quality reinforces a certain emotional intensity? Editor: I think so! It’s as if the artist is trying to capture a raw, immediate feeling, more than just an image. Curator: And how does its 'unfinished' nature change our interpretation? Does the vulnerability of the beast inspire more or less sympathy and, further, does it inspire different lines of questioning that address societal power? Editor: I never considered it that deeply, I was just focused on how it looks! Now I can see it as more of a statement on human treatment of animals, of others and their own circumstances during that time, like the social climate in France. Curator: Precisely. The lion isn’t just an animal, but a symbol. And by stripping away the traditional symbols of power and control surrounding it, Gericault raises difficult and meaningful questions. Editor: I'll never look at another drawing of a lion the same way again. Thank you!