Sketch for The Revolt of Cairo by Anne-Louis Girodet de Roussy-Trioson
Art Institute of ChicagoPublic domain

Sketch for The Revolt of Cairo

Anne-Louis Girodet de Roussy-Trioson · c. 1810

Provenance

Ownership history

  1. The artist’s studio, estate inventory, April 11, 1825, no. 107 [see Bajou and Lemeux-Fraitot 2002]; Girodet Sale, Paris, April 11, 1825, lot 17; sold for 2,850 francs to Jacobs [according to Voignier 2005]. Joseph Basile Ducos; sold Paris, December 18, 1837, lot 18. Sale, Hôtel Drouot, Paris, March 25, 1987, lot 37; sold to Galerie Charles Ratton-Guy Ladrière, Paris; sold to Richard L. Feigen & Co., New York by 1999 [according to Jean Christophe Baudequin’s email of July 27, 2006, copy in curatorial file]; sold to the Art Institute, 1999.

Recorded by Art Institute of Chicago.

Exhibitions

Exhibition history

  • Paris, Musée du Louvre , Girodet 1767-1824, September 22, 2005-January 2, 2006; traveled to Chicago, Art Institute, February 11-April 30, 2006; New York, Metropolitan Museum of Art, May 24-August 27, 2006; Montreal, Museum of Fine Arts, October 12, 2006-January 21, 2007, cat. 57, ill.
  • New York, Metropolitan Museum of Art, Orientalism: Between Fact and Fantasy, June 12, 2026–Feb. 28, 2027, no cat. no., pl. 9.

Literature

Published references

  • P. A. Coupin, Oeuvres Posthumes de Girodet-Trioson vol. 1 (Paris, 1829), p. 72.
  • Louise d’Argencourt and Roger Diederen, European Paintings of the 19th Century: The Cleveland Museum of Art Catalogue of Paintings: Part Four vol. 1 (Cleveland, 1999), pp. 299, 300.
  • “Principales Acquisitions des Musées en 1999,” Gazette des Beaux-Arts: La Chronique des Arts per. 6, t. 135 (March 2000), p. 58, fig. 226.
  • Carter E. Foster et al., French Master Drawings From the Collection of Muriel Butkin, exhib. cat. (Cleveland Museum of Art, 2001), p. 58 (ill.).
  • Valérie Bajou and Sidonie Lemeux-Fraitot, Inventaires après décès de Gros et de Girodet: Document inédits (2002), pp. 222, 294-95, no. 107.
  • Darcy Grimaldo Grigsby, Extremities: Painting Empire in Post-Revolutionary France (New Haven and London, 2002), p. 150 (ill.), 151.
  • Jean-Marie Voignier, “La Fortune de Girodet,” Bulletin de la Société d’émulation de l’arrondissement de Montargis nos. 128-29 (April 2005), pp. 23, 100, 127, 140.
  • Sylvain Bellenger, “Too Learned for Us: The Destiny of a Painter Poet,” “Terror and Grace: Girodet, Poet of Painting,” “Royalist or Revolutionary? Girodet and the New Order,” “Girodet and Boutard: Portrait of an Artistic and Journalistic Partnership under Napoleon l,” Girodet: 1767-1824, Exh. cat. (Musée du Louvre Editions, 2006), p.18, (ill.), p. 19, p. 28, p. 35, p. 37, p. 40, p. 76, p. 108, p. 110, p. 115, p. 133, cat. 55.
  • Deniz Beyazit, Maryam Ekhtiar and Asher Miller, Metropolitan Museum of Art, Orientalism: Between Fact and Fantasy, exh. cat. (New Haven and Loanond: Yale University Press, 2026), 38–39, 50–51, 151, 218, pl. 9.

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