plate no. 2391

Portrait of a Kleptomaniac

Théodore Géricault, 1822

oil, canvasRealismportraitportraitfiguremanclothingfacehair

From the record

Dimensions: 61.2 cm high × 50.2 cm wide
Institution: Museum of Fine Arts Ghent (MSK)
Location: Museum of Fine Arts Ghent (MSK)
Inception: 1820
Materials: oil paint, canvas

kleptomania
mental disorder

Wikipedia article Wikidata item Q2459266

from the sources

The painting is an 1822 oil painting by Théodore Géricault. en.wikipedia.org
“is an 1822 oil painting by Théodore Géricault.”
The painting is held by the Museum of Fine Arts in Ghent, Belgium. en.wikipedia.org
“It is part of series of ten portraits made for the psychiatrist Étienne-Jean Georget and is currently kept in the Museum of Fine Arts, Ghent, Belgium.”
The painting was made for the psychiatrist Étienne-Jean Georget as part of a series of ten portraits. en.wikipedia.org
“It is part of series of ten portraits made for the psychiatrist Étienne-Jean Georget and is currently kept in the Museum of Fine Arts, Ghent, Belgium.”
The series depicts insane inmates of the Salpêtrière asylum in Paris. en.wikipedia.org
“The painting belongs to a series of ten portraits of the insane inmates of Salpêtrière asylum in Paris.”
Georget commissioned the paintings so that each would represent a clinical model of the disease. en.wikipedia.org
“asked Géricault to do these paintings which would represent each of the clinical models of the disease.”
The sitter is shown with an empty gaze, a rigid face, a neglected beard and a dirty neck. en.wikipedia.org
“the empty gaze of the kleptomaniac goes to infinity and his face is rigid, with a neglected beard and dirty neck.”
The work was painted quickly. en.wikipedia.org
“The work was made quickly, which prefigured the concerns of the Impressionists.”
The series is noted for its bravura style, expressive realism and documentation of psychological discomfort. en.wikipedia.org
“The paintings are noteworthy for their bravura style, expressive realism, and for their documenting of the psychological discomfort of individuals,”

study guide

est. 12 hrs

approach — 8 steps

step 01
Begin with a light sketch of the figure's proportions and placement on the canvas.
step 02
Establish the overall value structure with a thin wash of burnt umber or a similar earth tone.
step 03
Block in the main areas of color, focusing on the skin tones, hair, clothing, and background.
step 04
Refine the facial features, paying close attention to the eyes, nose, and mouth.
step 05
Develop the details of the clothing and hair, adding highlights and shadows to create form.
step 06
Soften edges and blend colors to create a sense of atmosphere and depth.
step 07
Add final highlights and details to the face and clothing.
step 08
Glaze with thin layers of color to adjust the overall tone and saturation.

color palette

primary · burnt umber · raw sienna · titanium white

secondary · ivory black · yellow ochre · alizarin crimson

Skin tones can be achieved by mixing burnt umber, raw sienna, and titanium white, with small amounts of alizarin crimson for warmth. Darker areas can be created by adding ivory black to the mixture.

techniques

·underpainting
·glazing
·blending
·scumbling
·chiaroscuro

common pitfalls

→Overworking the details too early in the process.
→Failing to establish a strong value structure.
→Using colors that are too saturated or bright.
→Neglecting to soften edges and blend colors.

materials

surface · stretched canvas

required

·stretched canvas (16x20 inches)
·oil paints (burnt umber, raw sienna, titanium white, ivory black, yellow ochre, alizarin crimson)
·linseed oil
·turpentine or odorless mineral spirits
·palette
·assorted brushes (round and flat)
·palette knife
·rags or paper towels