Eugène Delacroix - Wikipedia Eugène Delacroix From Wikipedia, the free encyclopedia Jump to navigation Jump to search 19th-century French painter Eugène Delacroix Eugène Delacroix, c. 1857 (portrait by Nadar) Born Ferdinand Victor Eugène Delacroix (1798-04-26)26 April 1798 Charenton-Saint-Maurice, Île-de-France, France Died 13 August 1863(1863-08-13) (aged 65) Paris, France Nationality French Known for Painting, Lithography Notable work Liberty Leading the People, (1830) Movement Romanticism Ferdinand Victor Eugène Delacroix (/ˈdɛləkrwɑː, ˌdɛləˈkrwɑː/ DEL-ə-krwah, DEL-ə-KRWAH;[1] French: [øʒɛn dəlakʁwa]; 26 April 1798 – 13 August 1863) was a French Romantic artist regarded from the outset of his career as the leader of the French Romantic school.[2] In contrast to the Neoclassical perfectionism of his chief rival Ingres, Delacroix took for his inspiration the art of Rubens and painters of the Venetian Renaissance, with an attendant emphasis on colour and movement rather than clarity of outline and carefully modelled form. Dramatic and romantic content characterized the central themes of his maturity, and led him not to the classical models of Greek and Roman art, but to travel in North Africa, in search of the exotic.[3] Friend and spiritual heir to Théodore Géricault, Delacroix was also inspired by Lord Byron, with whom he shared a strong identification with the "forces of the sublime", of nature in often violent action.[4] However, Delacroix was given to neither sentimentality nor bombast, and his Romanticism was that of an individualist. In the words of Baudelaire, "Delacroix was passionately in love with passion, but coldly determined to express passion as clearly as possible."[5] Together with Ingres, Delacroix is considered one of the last old Masters of painting, and one of the few who was ever photographed. As a painter and muralist, Delacroix's use of expressive brushstrokes and his study of the optical effects of colour profoundly shaped the work of the Impressionists, while his passion for the exotic inspired the artists of the Symbolist movement. A fine lithographer, Delacroix illustrated various works of William Shakespeare, the Scottish author Walter Scott and the German author Johann Wolfgang von Goethe. Contents 1 Early life 2 Career 2.1 Chios and Missolonghi 2.2 Romanticism 2.3 Liberty Leading the People 3 Travel to North Africa 4 Musical Inspirations 5 Murals and later life 6 Gallery 7 Legacy 8 See also 9 References 10 External links Early life[edit] Portrait of Delacroix early in his career Eugène Delacroix was born on 26 April 1798 at Charenton-Saint-Maurice in Île-de-France, near Paris. His mother was named Victoire Oeben, the daughter of the cabinet-maker Jean-François Oeben. He had three much older siblings. Charles-Henri Delacroix (1779–1845) rose to the rank of General in the Napoleonic army. Henriette (1780–1827) married the diplomat Raymond de Verninac Saint-Maur (1762–1822). Henri was born six years later. He was killed at the Battle of Friedland on 14 June 1807.[6] There are medical reasons to believe that Eugène's legitimate father, Charles-François Delacroix, was not able to procreate at the time of Eugène's conception. Talleyrand, who was a friend of the family and successor of Charles Delacroix as Minister of Foreign Affairs, and whom the adult Eugène resembled in appearance and character, considered himself as his real father.[7] After assuming his office as foreign minister Talleyrand, dispatched Delacroix to The Hague in the capacity of French ambassador to the then Batavian Republic. Delacroix who at the time suffered from erectile dysfunction returned to Paris in early September 1797, only to find his wife pregnant. Talleyrand went on to assist Eugène in the form of numerous anonymous commissions.[8] Throughout his career as a painter, he was protected by Talleyrand, who served successively the Restoration and king Louis-Philippe, and ultimately as ambassador of France in Great Britain, and later by Charles Auguste Louis Joseph, duc de Morny, half-brother of Napoleon III and speaker of the French House of Commons. His legitimate father, Charles Delacroix, died in 1805, and his mother in 1814, leaving 16-year-old Eugène an orphan. His early education was at the Lycée Louis-le-Grand, and at the Lycée Pierre Corneille in Rouen[9] where he steeped himself in the classics and won awards for drawing. In 1815 he began his training with Pierre-Narcisse Guérin in the neoclassical style of Jacques-Louis David. An early church commission, The Virgin of the Harvest (1819), displays a Raphael-esque influence, but another such commission, The Virgin of the Sacred Heart (1821), evidences a freer interpretation.[10] It precedes the influence of the more colourful and rich style of the Flemish Baroque painter Peter Paul Rubens, and fellow French artist Théodore Géricault, whose works marked an introduction to Romanticism in art. The impact of Géricault's The Raft of the Medusa was profound, and stimulated Delacroix to produce his first major painting, The Barque of Dante, which was accepted by the Paris Salon in 1822. The work caused a sensation, and was largely derided by the public and officialdom, yet was purchased by the State for the Luxembourg Galleries; the pattern of widespread opposition to his work, countered by a vigorous, enlightened support, would continue throughout his life.[11] Two years later he again achieved popular success for his The Massacre at Chios. Career[edit] Chios and Missolonghi[edit] Massacre at Chios (1824), Louvre Delacroix's painting of the massacre at Chios shows sick, dying Greek civilians about to be slaughtered by the Turks. One of several paintings he made of this contemporary event, expressed the official policy for the Greek cause in their war of independence against the Turks, war sustained by English, Russian and French governments. Delacroix was quickly recognized by the authorities as a leading painter in the new Romantic style, and the picture was bought by the state. His depiction of suffering was controversial, however, as there was no glorious event taking place, no patriots raising their swords in valour as in David's Oath of the Horatii, only a disaster. Many critics deplored the painting's despairing tone; the artist Antoine-Jean Gros called it "a massacre of art".[11] The pathos in the depiction of an infant clutching its dead mother's breast had an especially powerful effect, although this detail was condemned as unfit for art by Delacroix's critics. A viewing of the paintings of John Constable and the watercolour sketches and art of Richard Parkes Bonnington prompted Delacroix to make extensive, freely painted changes to the sky and distant landscape.[12] Greece on the Ruins of Missolonghi (1826), Musée des Beaux-Arts, Bordeaux Delacroix produced a second painting in support of the Greeks in their war for independence, this time referring to the capture of Missolonghi by Turkish forces in 1825.[13] With a restraint of palette appropriate to the allegory, Greece Expiring on the Ruins of Missolonghi displays a woman in Greek costume with her breast bared, arms half-raised in an imploring gesture before the horrible scene: the suicide of the Greeks, who chose to kill themselves and destroy their city rather than surrender to the Turks. A hand is seen at the bottom, the body having been crushed by rubble. The painting serves as a monument to the people of Missolonghi and to the idea of freedom against tyrannical rule. This event interested Delacroix not only for his sympathies with the Greeks, but also because the poet Byron, whom Delacroix greatly admired, had died there.[2] Romanticism[edit] The Death of Sardanapalus (1827), Philadelphia Museum of Art Horse Frightened by a Storm, watercolour, 1824 A trip to England in 1825 included visits to Thomas Lawrence and Richard Parkes Bonington, and the colour and handling of English painting provided impetus for his only full-length portrait, the elegant Portrait of Louis-Auguste Schwiter (1826–30). At roughly the same time, Delacroix was creating romantic works of numerous themes, many of which would continue to interest him for over thirty years. By 1825, he was producing lithographs illustrating Shakespeare, and soon thereafter lithographs and paintings from Goethe's Faust. Paintings such as The Combat of the Giaour and Hassan (1826), and Woman with Parrot (1827), introduced subjects of violence and sensuality which would prove to be recurrent.[14] These various romantic strands came together in The Death of Sardanapalus (1827–28). Delacroix's painting of the death of the Assyrian king Sardanapalus shows an emotionally stirring scene alive with beautiful colours, exotic costumes and tragic events. The Death of Sardanapalus depicts the besieged king watching impassively as guards carry out his orders to kill his servants, concubines and animals. The literary source is a play by Byron, although the play does not specifically mention any massacre of concubines.[15] Sardanapalus' attitude of calm detachment is a familiar pose in Romantic imagery in this period in Europe. The painting, which was not exhibited again for many years afterward, has been regarded by some critics[who?] as a gruesome fantasy involving death and lust. Especially shocking is the struggle of a nude woman whose throat is about to be cut, a scene placed prominently in the foreground for maximum impact. However, the sensuous beauty and exotic colours of the composition make the picture appear pleasing and shocking at the same time.[original research?] A variety of Romantic interests were again synthesized in The Murder of the Bishop of Liège (1829). It also borrowed from a literary source, this time Scott, and depicts a scene from the Middle Ages, that of the murder of Louis de Bourbon, Bishop of Liège amidst an orgy sponsored by his captor, William de la Marck. Set in an immense vaulted interior which Delacroix based on sketches of the Palais de Justice in Rouen and Westminster Hall, the drama plays out in chiaroscuro, organized around a brilliantly lit stretch of tablecloth. In 1855, a critic described the painting's vibrant handling as "Less finished than a painting, more finished than a sketch, The Murder of the Bishop of Liège was left by the painter at that supreme moment when one more stroke of the brush would have ruined everything".[16] Liberty Leading the People[edit] Main article: Liberty Leading the People Liberty Leading the People (1830), Louvre, Paris Delacroix's most influential work came in 1830 with the painting Liberty Leading the People, which for choice of subject and technique highlights the differences between the romantic approach and the neoclassical style. Less obviously, it also differs from the Romanticism of Géricault, as exemplified by The Raft of the Medusa. Delacroix felt his composition more vividly as a whole, thought of his figures and crowds as types, and dominated them by the symbolic figure of Republican Liberty which is one of his finest plastic inventions...[17] Probably Delacroix's best-known painting, Liberty Leading the People is an unforgettable image of Parisians, having taken up arms, marching forward under the banner of the tricolour representing liberty, equality, and fraternity. Although Delacroix was inspired by contemporary events to invoke this romantic image of the spirit of liberty, he seems to be trying to convey the will and character of the people,[17] rather than glorifying the actual event, the 1830 revolution against Charles X, which did little other than bring a different king, Louis-Philippe, to power. The warriors lying dead in the foreground offer poignant counterpoint to the symbolic female figure, who is illuminated triumphantly against a background of smoke.[18] Christ on the Sea of Galilee, 1854 Although the French government bought the painting, by 1832 officials deemed its glorification of liberty too inflammatory and removed it from public view.[19] Nonetheless, Delacroix still received many government commissions for murals and ceiling paintings.[20] Following the Revolution of 1848 that saw the end of the reign of King Louis Philippe, Delacroix' painting, Liberty Leading the People, was finally put on display by the newly elected President, Louis Napoleon (Napoleon III). It is exhibited in the Louvre museum in Paris; although from December 2012 until 2014 it was on exhibit at Louvre-Lens in Lens, Pas-de-Calais.[21] The boy holding a pistol aloft on the right is sometimes thought to be an inspiration for the Gavroche character in Victor Hugo's 1862 novel, Les Misérables.[22] Travel to North Africa[edit] Fanatics of Tangier (1838), Minneapolis Institute of Art In 1832, Delacroix traveled to Spain and North Africa in company with the diplomat Charles-Edgar de Mornay, as part of a diplomatic mission to Morocco shortly after the French conquered Algeria. He went not primarily to study art, but to escape from the civilization of Paris, in hopes of seeing a more "primitive" culture.[17] He eventually produced over 100 paintings and drawings of scenes from or based on the life of the people of North Africa, and added a new and personal chapter to the interest in Orientalism.[23] Delacroix was entranced by the people and their clothes, and the trip would inform the subject matter of a great many of his future paintings. He believed that the North Africans, in their attire and their attitudes, provided a visual equivalent to the people of Classical Rome and Greece: The Greeks and Romans are here at my door, in the Arabs who wrap themselves in a white blanket and look like Cato or Brutus...[17] Self-portrait, 1837. "Eugène Delacroix was a curious mixture of skepticism, politeness, dandyism, willpower, cleverness, despotism, and finally, a kind of special goodness and tenderness that always accompanies genius".[24] He managed to sketch some women secretly in Algiers, as in the painting Women of Algiers in their Apartment (1834), but generally he encountered difficulty in finding Muslim women to pose for him because of Muslim rules requiring that women be covered.[citation needed] Less problematic was the painting of Jewish women in North Africa, as subjects for the Jewish Wedding in Morocco (1837–1841). While in Tangier, Delacroix made many sketches of the people and the city, subjects to which he would return until the end of his life.[25] Animals—the embodiment of romantic passion—were incorporated into paintings such as Arab Horses Fighting in a Stable (1860), The Lion Hunt (of which there exist many versions, painted between 1856 and 1861), and Arab Saddling his Horse (1855). Musical Inspirations[edit] Medea about to Kill Her Children, 1838 The Barque of Dante (1822), Louvre Delacroix drew inspiration from many sources over his career, such as the literary works of William Shakespeare and Lord Byron, and the artistry of Michelangelo. But, throughout his life, he felt a constant need for music, saying in 1855 that "nothing can be compared with the emotion caused by music; that it expresses incomparable shades of feeling." He also said, while working at Saint-Sulpice, that music put him in a state of "exaltation" that inspired his painting. It was often from music, whether the most melancholy renditions of Chopin or the "pastoral" works of Beethoven, that Delacroix was able to draw the most emotion and inspiration. At one point during his life, Delacroix befriended and made portraits of the composer Chopin; in his journal, Delacroix praised him frequently.[26] Lion Hunt (1855), Nationalmuseum, Stockholm Lion Hunt (1860/61), Art Institute of Chicago Murals and later life[edit] In 1838 Delacroix exhibited Medea about to Kill Her Children, which created a sensation at the Salon. His first large-scale treatment of a scene from Greek mythology, the painting depicts Medea clutching her children, dagger drawn to slay them in vengeance for her abandonment by Jason. The three nude figures form an animated pyramid, bathed in a raking light that penetrates the grotto in which Medea has hidden. Though the painting was quickly purchased by the State, Delacroix was disappointed when it was sent to the Lille Musée des Beaux-Arts; he had intended for it to hang at the Luxembourg, where it would have joined The Barque of Dante and Scenes from the Massacres of Chios.[27] From 1833 on Delacroix received numerous commissions to decorate public buildings in Paris. In that year he began work for the Salon du Roi in the Chambre des Députés, Palais Bourbon, which was not completed until 1837, and began a lifelong friendship with the female artist Marie-Élisabeth Blavot-Boulanger. For the next ten years he painted in both the Library at the Palais Bourbon and the Library at the Palais du Luxembourg. In 1843 he decorated the Church of St. Denis du Saint Sacrement with a large Pietà, and from 1848 to 1850 he painted the ceiling in the Galerie d'Apollon of the Louvre. From 1857 to 1861 he worked on frescoes for the Chapelle des Anges at the Church of Saint-Sulpice in Paris. They included "Jacob Wrestling with the Angel", "Saint Michael Slaying the Dragon", and "The Expulsion of Heliodorus from the Temple".[28] These commissions offered him the opportunity to compose on a large scale in an architectural setting, much as had those masters he admired, Paolo Veronese, Tintoretto, and Rubens. The work was fatiguing, and during these years he suffered from an increasingly fragile constitution. In addition to his home in Paris, from 1844 he also lived at a small cottage in Champrosay, where he found respite in the countryside. From 1834 until his death, he was faithfully cared for by his housekeeper, Jeanne-Marie le Guillou, who zealously guarded his privacy, and whose devotion prolonged his life and his ability to continue working in his later years.[29] In 1862 Delacroix participated in the creation of the Société Nationale des Beaux-Arts. His friend, the writer Théophile Gautier, became chairman, with the painter Aimé Millet acting as deputy chairman. In addition to Delacroix, the committee was composed of the painters Carrier-Belleuse and Puvis de Chavannes. Among the exhibitors were Léon Bonnat, Jean-Baptiste Carpeaux, Charles-François Daubigny, Gustave Doré, and Édouard Manet.[citation needed] Just after his death in 1863, the society organized a retrospective exhibition of 248 paintings and lithographs by Delacroix—and ceased to mount any further exhibitions.[citation needed] The winter of 1862–63 was extremely rough for Delacroix; he was suffering from a bad throat infection that seemed to get worse over the course of the season. On a trip to Champrosay, he met a friend on the train and became exhausted after having a conversation. On 1 June he returned to Paris to see his doctor. Two weeks later, on 16 June, he was getting better and returned to his house in the country. But by 15 July he was sick enough to again see his doctor, who said he could do nothing more for him. By then, the only food he could eat was fruit. Delacroix realized the seriousness of his condition and wrote his will, leaving a gift for each of his friends. For his trusted housekeeper, Jenny Le Guillou, he left enough money for her to live on while ordering everything in his studio to be sold. He also inserted a clause forbidding any representation of his features, "whether by a death-mask or by drawing or by photography. I forbid it, expressly."[30] On 13 August, Delacroix died, with Jenny by his side.[31] He was buried in Père Lachaise Cemetery in Paris. His house, formerly situated along the canal of the Marne, is now near the exit of the motorway leading from Paris to central Germany. Gallery[edit] Mademoiselle Rose, 1817–1824, Louvre Orphan Girl at the Cemetery, 1823, Louvre Louis of Orléans Unveiling his Mistress, c.1825–26, Thyssen-Bornemisza Collection Charles Étienne Raymond Victor de Verninac, the painter's nephew, c.1825–26. private collection The Combat of the Giaour and Hassan, 1826, Art Institute of Chicago Woman with a Parrot, 1827, Museum of Fine Arts of Lyon Woman With White Socks, 1825–1830, Louvre A Young Tiger Playing with its Mother, 1830, Louvre The Duke of Morny's Apartment, 1831–1833, Louvre Portrait of Dr. François-Marie Desmaisons, 1832–33, Detroit Institute of Arts Fantasia Arabe, 1833. Frankfurt Städel Museum The Women of Algiers, 1834, Louvre The Battle of Taillebourg (draft), 1834–35, Louvre The Natchez, 1835, Metropolitan Museum of Art Frédéric Chopin, 1838, Louvre George Sand, 1838, Ordrupgaard-Museum Columbus and His Son at La Rábida, 1838, National Gallery of Art Jewish Wedding in Morocco, c.1839, Louvre Hamlet with Horatio, (the gravedigger scene), 1839, Louvre Christ on the Sea of Galilee, 1841, Nelson-Atkins Museum of Art Collision of Moorish Horsemen, 1844, Walters Art Museum Last Words of the Emperor Marcus Aurelius, 1844, Musée des Beaux-Arts de Lyon Saint George Fighting the Dragon, 1847, Louvre Museum Desdemona Cursed by her Father (Desdemona maudite par son père), c.1850–1854, Brooklyn Museum Andromeda, 1852, Museum of Fine Arts, Houston Perseus and Andromeda, circa 1853, Staatsgalerie Stuttgart 1855, Moroccan Saddles His Horse, Hermitage Museum Rider Attacked by a Jaguar, 1855. National Gallery in Prague The Bride of Abydos, 1857, Louvre The Death of Desdemona, 1858 Horses Leaving the Sea, 1860, The Phillips Collection Arab Horses Fighting in a Stable, 1860 Shipwreck on the Coast, 1862, Museum of Fine Arts, Houston Ovid among the Scythians, 1862, version in Metropolitan Museum of Art Winter: Juno and Aeolus, 1856, private collection (sketch for the painting in the São Paulo Museum of Art) Murals for Salon du Roi, Palais Bourbon, Paris, 1833–1837 Charioteers, pen and ink on paper, National Gallery of Art Legacy[edit] Monument to Delacroix, at the Jardin du Luxembourg Delacroix 's tomb in Père Lachaise Cemetery French 100 franc banknote, 1993 At the sale of his work in 1864, 9140 works were attributed to Delacroix, including 853 paintings, 1525 pastels and water colours, 6629 drawings, 109 lithographs, and over 60 sketch books.[32] The number and quality of the drawings, whether done for constructive purposes or to capture a spontaneous movement, underscored his explanation, "Colour always occupies me, but drawing preoccupies me." Delacroix produced several fine self-portraits, and a number of memorable portraits which seem to have been done purely for pleasure, among which were the portrait of fellow artist Baron Schwiter, an inspired small oil of the violinist Niccolò Paganini, and Portrait of Frédéric Chopin and George Sand, a double portrait of his friends, the composer Frédéric Chopin and writer George Sand; the painting was cut after his death, but the individual portraits survive. On occasion Delacroix painted pure landscapes (The Sea at Dieppe, 1852) and still lifes (Still Life with Lobsters, 1826–27), both of which feature the virtuoso execution of his figure-based works.[33] He is also well known for his Journal, in which he gave eloquent expression to his thoughts on art and contemporary life.[34] A generation of impressionists was inspired by Delacroix's work. Renoir and Manet made copies of his paintings, and Degas purchased the portrait of Baron Schwiter for his private collection. His painting at the church of Saint-Sulpice has been called the "finest mural painting of his time".[35] Contemporary Chinese artist Yue Minjun has created his own interpretation of Delacroix's painting Massacre of Chios, which retains the same name. Yue Minjun's painting was itself sold at Sotheby's for nearly $4.1 million in 2007.[36] His pencil drawing Moorish Conversation on a Terrace was discovered as part of the Munich Art Hoard.[37] See also[edit] Jean Louis Marie Eugène Durieu, friend, colleague, and photographer List of Orientalist artists Orientalism Musée national Eugène Delacroix, his last apartment in Paris References[edit] ^ Jones, Daniel (2011). Roach, Peter; Setter, Jane; Esling, John (eds.). Cambridge English Pronouncing Dictionary (18th ed.). Cambridge University Press. ISBN 978-0-521-15255-6. ^ a b Noon, Patrick, et al., Crossing the Channel: British and French Painting in the Age of Romanticism, p. 58, Tate Publishing, 2003. ISBN 1-85437-513-X ^ Gombrich, E.H., The Story of Art, pages 504–6. Phaidon Press Limited, 1995. ISBN 0-7148-3355-X ^ Clark, Kenneth, Civilisation, page 313. Harper and Row, 1969. ^ Wellington, Hubert, The Journal of Eugène Delacroix, introduction, page xiv. Cornell University Press, 1980. ISBN 0-8014-9196-7 ^ Sjöberg, Yves (1963). Pour comprendre Delacroix. Editions Beauchesne. p. 29. GGKEY:021FPT3P5E8. Retrieved 15 March 2014. ^ "Eugène Delacroix biography". Web Gallery of Art. Retrieved 14 June 2007. André Castelot (Talleyrand ou le cynisme [Paris, Librairie Perrin, 1980]) discusses and rejects the theory, pointing out that correspondence between Charles and his wife during the pregnancy shows no sign of tension or resentment. ^ Bernard, J.F. (1973). Talleyrand: A Biography. New York: Putnam. p. 210. ISBN 0-399-11022-4. ^ "Lycée Pierre Corneille de Rouen – The Lycée Corneille of Rouen". ac-rouen.fr. ^ Jobert, Barthélémy, Delacroix, page 62. Princeton University Press, 1997. ISBN 0-691-00418-8 (Princeton University Press published an expanded edition of this book in 2018. ISBN 978-0691182360) ^ a b Wellington, page xii. ^ Wellington, pages xii, 16. ^ Jobert, page 127. ^ Jobert, page 98. ^ "'The Death of Sardanapalus' – Analysis and Critical Reception". www.artble.com. Retrieved 27 May 2017. ^ Jobert, pages 116–18. ^ a b c d Wellington, page xv. ^ Allard, Sébastien, Côme Fabre, Dominique de Font-Réaulx, Michèle Hannoosh, Mehdi Korchane, and Asher Ethan Miller (2018). Delacroix. New York, NY: Metropolitan Museum of Art. pp. 74–76. ISBN 1588396517. ^ Allard, Sébastien, Côme Fabre, Dominique de Font-Réaulx, Michèle Hannoosh, Mehdi Korchane, and Asher Ethan Miller (2018). Delacroix. New York, NY: Metropolitan Museum of Art. p. 76. ISBN 1588396517. ^ Allard, Sébastien, Côme Fabre, Dominique de Font-Réaulx, Michèle Hannoosh, Mehdi Korchane, and Asher Ethan Miller (2018). Delacroix. New York, NY: Metropolitan Museum of Art. p. 103. ISBN 1588396517. ^ "Louvre museum gets a sister". USAToday. 23 December 2012. Retrieved 23 December 2012. ^ Néret, Gilles Delacroix, page 26. Taschen, 2000. ISBN 3822859885. Retrieved 27 May 2017. ^ Jobert, page 140. ^ Baudelaire, quoted in Jobert, page 27. ^ Wellington, page xvi. ^ Jean-Aubry, G. (1920). "A Music-Lover of the Past: Eugène Delacroix". The Musical Quarterly. 6 (4): 478–499. doi:10.1093/mq/vi.4.478. JSTOR 737975. ^ Jobert, pages 245–6. ^ Spector, Jack J. (1985). The Murals of Eugene Delacroix at Saint-Sulpice. Pennsylvania State University Press. ^ Wellington, pages xxvii–xxviii. ^ Deslandres, Yvonne (1963). Delacroix: A Pictorial Biography. Translated by Griffin, Jonathan. New York: Viking Press. p. 126. OCLC 518099. He passed anxiously through the winter of 1862–63: the bad season was always dangerous to his vulnerable throat. On 26 May he met a friend in the train to Champrosay, and the conversation exhausted him ... On 1 June he decided to return to Paris to see his doctor ... On 16 June, as he seemed to be better, he went back to the country ... On 15 July he was at the end of his strength: he was brought back to Paris ... and was fed on fruit, the only food he could take. His doctors could do nothing ... Aware of his condition, he dictated his will ... forgetting none of his friends, he left to each of them something to remember him by, to Jenny enough to live on, and ordered all the contents of his studio to be sold. He also inserted a clause forbidding any representation of his features 'whether by a death-mask or by drawing or by photograph. I forbid it, expressly.' ^ "Biography". Musée National Eugène Delacroix. Retrieved 24 April 2018.[permanent dead link] ^ Wellington, page xxviii. ^ Jobert, page 99. ^ Eugène Delacroix, Journal, nouvelle édition intégrale établie par Michèle Hannoosh, 2 vols., Paris, José Corti, 2009. ISBN 978-2714309990. ^ Wellington, page xxiii. ^ "New record sale of a Chinese contemporary painting: US$5.9 million". Shanghaiist. ^ "Photo Gallery: Munich Nazi Art Stash Revealed". Spiegel. 17 November 2013. Retrieved 17 November 2013. External links[edit] Wikiquote has quotations related to: Eugène Delacroix Wikimedia Commons has media related to Eugène Ferdinand Victor Delacroix. Wikisource has the text of a 1911 Encyclopædia Britannica article about Eugène Delacroix. Works by or about Eugène Delacroix at Internet Archive Bibliothèque numérique de l'INHA – Journal et Correspondance d'Eugène Delacroix Eugène Delacroix's biography, context, style and technique The National Gallery: Delacroix Brief biography at the Getty Museum Le musée national Eugène Delacroix (in French) A free video documentary about Delacroix's Liberty Leading the People Harriet Griffiths & Alister Mill, Delacroix's Salon exhibition record, 1827–1849, Database of Salon Artists, 1827–1850 "Examination of The Shipwreck of Don Juan". Paintings & Drawings. Victoria and Albert Museum. Archived from the original on 29 September 2007. Eugène Delacroix (1798–1863): Paintings, Drawings, and Prints from North American Collections, a full text exhibition catalog from The Metropolitan Museum of Art Romanticism & The School of Nature : Nineteenth-century drawings and paintings from the Karen B. Cohen collection, a full text exhibition catalog from The Metropolitan Museum of Art (see index) Jennifer A. Thompson, "Basket of Flowers and Fruit by Eugège Delacroix (cat. 974)" in The John G. Johnson Collection: A History and Selected Works, a Philadelphia Museum of Art free digital publication. v t e Eugène Delacroix Paintings The Entombment (1820) The Barque of Dante (1822) Head of a Woman (1823) Mademoiselle Rose (c. 1820–1824) Orphan Girl at the Cemetery (c. 1824) The Massacre at Chios (1824) Horse Frightened by a Thunderstorm (c. 1824) Greece on the Ruins of Missolonghi (1826) The Combat of the Giaour and Hassan (1826, 1835, 1856) The Execution of the Doge Marino Faliero (1826) Louis d'Orléans Showing Off His Mistress (1826) Portrait of Louis-Auguste Schwiter (1826-1830) Woman Stroking a Parrot (1827) The Death of Sardanapalus (1827, 1844) Cromwell at Windsor Castle (1828) The Murder of the Bishop of Liège (1829) Liberty Leading the People (1830) A Young Tiger Playing with Its Mother (1830–1831) The Battle of Nancy (1831) Cromwell with the Coffin of Charles I (1831) The Picador (1832) Arab Rider Charging (1832) Women of Algiers (1834, 1847–1849) Christ on the Cross (1835) The Battle of Taillebourg, 21 July 1242 (1837) The Kaïd, A Moroccan Chief (1837) Warrior by a Tomb (1838) Portrait of Frédéric Chopin and George Sand (1838) Entry of the Crusaders in Constantinople (1840) Last Words of the Emperor Marcus Aurelius (1840) The Sultan of Morocco (1845) The Abduction of Rebecca (1846) The Bride of Abydos (pre-1849, 1843–1849) Christ Asleep during the Tempest (c. 1853) Lion Devouring a Rabbit (c. 1855) The Two Foscari (1855) The Lion Hunt (1855) Ovid among the Scythians (1859, 1862) Arab Horses Fighting in a Stable (1860) Horses Leaving the Sea (1860) Jacob wrestling with the Angel (1854–1861) Tiger with a Tortoise (1862) Drawings Sunset (c. 1850) People Charles-François Delacroix (father) Charles-Henri Delacroix (brother) Henriette de Verninac (sister) Jean-François Oeben (grandfather) Charles Maurice de Talleyrand-Périgord Henri-François Riesener Jean-Henri Riesener Théodore Géricault Richard Parkes Bonington Paul Huet Ary Scheffer Pierre-Narcisse Guérin Museums Musée national Eugène Delacroix, Paris v t e Romanticism Countries Denmark England (literature) France (literature) Germany Norway Poland Russia (literature) Scotland Spain (literature) Sweden (literature) Movements Bohemianism Coppet group Counter-Enlightenment Dark romanticism Düsseldorf School Gesamtkunstwerk Gothic fiction Gothic Revival (architecture) Hudson River School Indianism Jena Romanticism Lake Poets Nazarene movement Ossian Romantic hero Romanticism and Bacon Romanticism in science Romantic nationalism Romantic poetry Opium and Romanticism Transcendentalism Ultra-Romanticism Wallenrodism Writers Abovian Abreu Alencar Alfieri Alves Andersen A. v. 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Schlegel Schleiermacher Senancour De Staël Tieck Wackenroder Visual artists Aivazovsky Bierstadt Blake Bonington Bryullov Chassériau Church Constable Cole Corot Dahl David d'Angers Delacroix Friedrich Fuseli Géricault Girodet Głowacki Goya Gude Hayez Janmot Jones Kiprensky Koch Lampi Leutze Loutherbourg Maison Martin Michałowski Palmer Porto-Alegre Préault Révoil Richard Rude Runge Saleh Scheffer Stattler Stroj Tidemand Todorović Tropinin Turner Veit Ward Wiertz Related topics German idealism Historical fiction Mal du siècle Medievalism Neo-romanticism Preromanticism Post-romanticism Sturm und Drang ← Age of Enlightenment Modernism → Category Authority control General Integrated Authority File VIAF 1 WorldCat National libraries France (data) United States Australia Art galleries and museums Auckland South Australia Victoria Art research institutes KulturNav (Norway) Photographers' Identities RKD Artists (Netherlands) Artist Names (Getty) Other Faceted Application of Subject Terminology Léonore (France) 1 Social Networks and Archival Context SUDOC (France) 1 Trove (Australia) 1 Retrieved from "https://en.wikipedia.org/w/index.php?title=Eugène_Delacroix&oldid=1019905703" Categories: 1798 births 1863 deaths 19th-century French painters French male painters Alumni of the École des Beaux-Arts Artist authors Burials at Père Lachaise Cemetery French philhellenes French romantic painters Lycée Louis-le-Grand alumni Lycée Pierre-Corneille alumni Nude art Members of the Académie des beaux-arts Orientalist painters People from Saint-Maurice, Val-de-Marne 19th-century diarists Hidden categories: All articles with dead external links Articles with dead external links from September 2018 Articles with permanently dead external links Articles with short description Short description is different from Wikidata Use dmy dates from January 2020 Articles with hCards All articles with specifically marked weasel-worded phrases Articles with specifically marked weasel-worded phrases from April 2018 All articles that may contain original research Articles that may contain original research from April 2018 All articles with unsourced statements Articles with unsourced statements from April 2018 Commons link is locally defined Articles with Internet Archive links Articles with French-language sources (fr) Wikipedia articles with GND identifiers Wikipedia articles with VIAF identifiers Wikipedia articles with BNF identifiers Wikipedia articles with LCCN identifiers Wikipedia articles with NLA identifiers Wikipedia articles with AAG identifiers Wikipedia articles with AGSA identifiers Wikipedia articles with NGV identifiers Wikipedia articles with KULTURNAV identifiers Wikipedia articles with PIC identifiers Wikipedia articles with RKDartists identifiers Wikipedia articles with ULAN identifiers Wikipedia articles with FAST identifiers Wikipedia articles with Léonore identifiers Wikipedia articles with SNAC-ID identifiers Wikipedia articles with SUDOC identifiers Wikipedia articles with Trove identifiers Wikipedia articles with WORLDCATID identifiers Wikipedia articles with suppressed authority control identifiers Navigation menu Personal tools Not logged in Talk Contributions Create account Log in Namespaces Article Talk Variants Views Read Edit View history More Search Navigation Main page Contents Current events Random article About Wikipedia Contact us Donate Contribute Help Learn to edit Community portal Recent changes Upload file Tools What links here Related changes Upload file Special pages Permanent link Page information Cite this page Wikidata item Print/export Download as PDF Printable version In other projects Wikimedia Commons Wikiquote Languages Afrikaans አማርኛ العربية Aragonés Արեւմտահայերէն Asturianu Azərbaycanca বাংলা Bân-lâm-gú Башҡортса Беларуская Беларуская (тарашкевіца) Български Bosanski Brezhoneg Català Чӑвашла Cebuano Čeština Dansk Deutsch Eesti Ελληνικά Español Esperanto Euskara فارسی Français Gaeilge Galego 한국어 Հայերեն Hrvatski Ido Bahasa Indonesia Ирон Italiano עברית ქართული Кыргызча Latina Latviešu Lëtzebuergesch Lietuvių Magyar Македонски Malagasy മലയാളം მარგალური مصرى مازِرونی Bahasa Melayu Nederlands 日本語 Нохчийн Norsk bokmål Norsk nynorsk Occitan Oʻzbekcha/ўзбекча ਪੰਜਾਬੀ پنجابی Picard Piemontèis Polski Português Română Runa Simi Русский Scots Seeltersk Shqip Simple English Slovenčina Slovenščina Српски / srpski Srpskohrvatski / српскохрватски Suomi Svenska Татарча/tatarça ไทย Türkçe Українська Tiếng Việt Winaray 吴语 粵語 中文 Edit links This page was last edited on 26 April 2021, at 02:43 (UTC). 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