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Eugène Delacroix
Eugène Delacroix (portrait by Nadar)
Birth name Ferdinand Victor Eugène Delacroix
Born 26 April 1798
Charenton (Saint-Maurice, Val-de-Marne), Île-de-France, France
Died 13 August 1863 (aged 65)
Paris, France
Nationality French
Field Painting, Lithography
Movement Romanticism
Works Liberty Leading the People, 1830

Ferdinand Victor Eugène Delacroix (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.[1] 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 writer Sir Walter Scott and the German writer Johann Wolfgang von Goethe.

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 color and movement rather than clarity of outline and carefully modeled 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.[2] Friend and spiritual heir to Théodore Géricault, Delacroix was also inspired by Byron, with whom he shared a strong identification with the "forces of the sublime", of nature in often violent action.[3]

However, Delacroix was given neither to 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."[4]

Contents

Early life

Delacroix was born at Charenton (Saint-Maurice, Val-de-Marne), in Île-de-France near Paris.

There is reason to believe that his father, Charles-François Delacroix, was infertile at the time of Eugène's conception and that his real father was Talleyrand, who was a friend of the family and successor of C. Delacroix as minister of the foreign affairs, and whom the adult Eugène resembled in appearance and character.[5] 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 Talleyrand's grandson, Charles Auguste Louis Joseph, duc de Morny, half-brother of Napoleon III and speaker of the French house of commons. His father, Charles Delacroix, died in 1805, and his mother in 1814, leaving 16-year-old Eugene an orphan.

His early education was at the Lycée Louis-le-Grand, 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 Raphaelesque influence, but another such commission, The Virgin of the Sacred Heart, (1821), evidences a freer interpretation.[6] It precedes the influence of the more colorful and rich style of the Flemish painter Peter Paul Rubens (1577-1640), and fellow French artist Théodore Géricault (1791-1824), 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.[7] Two years later he again achieved popular success for his The Massacre at Chios.

Maturity

Chios and Messolonghi

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, it expresses sympathy for the Greek cause in their war of independence against the Turks, a popular sentiment at the time for the French people. Delacroix was quickly recognized 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".[7] 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.[8]

Greece Expiring on the Ruins of Messolonghi (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 Messolonghi by Turkish forces in 1825.[9] With a restraint of palette appropriate to the allegory, Greece Expiring on the Ruins of Messolonghi 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 being crushed by rubble. The whole picture serves as a monument to the people of Messolonghi 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.[1]

Romanticism

A trip to England in 1825 included visits to Thomas Lawrence and Richard Parkes Bonington, and the color and handling of English painting provided impetus for his only full-length portrait, the elegant Portrait of Louis-Auguste Schwiter, (1826-30).[10] 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.

These various romantic strands came together in the Death of Sardanapalus, (1827-8). 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.

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 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.

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".[11]

Liberty Leading the People

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 and the Raft of the Medusa, for

"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…"[12]

Probably Delacroix's best known painting, it is an unforgettable image of Parisians, having taken up arms, marching forward under the banner of the tricolore representing liberty, equality, and fraternity; Delacroix was inspired by contemporary events to invoke the romantic image of the spirit of liberty. The soldiers lying dead in the foreground offer poignant counterpoint to the symbolic female figure, who is illuminated triumphantly, as if in a spotlight.

The French government bought the painting but officials deemed its glorification of liberty too inflammatory and removed it from public view. Nonetheless, Delacroix still received many government commissions for murals and ceiling paintings. He seems to have been trying to represent the spirit and the character of the people,[12] rather than glorify the actual event, a revolution against King Charles X which did little other than bring in a different king, Louis-Philippe, to power.

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.) Today, it is visible in the Louvre museum.

The boy holding a gun up on the right is sometimes thought to be an inspiration of the Gavroche character in Victor Hugo's 1862 novel, Les Misérables.

Travel to North Africa

Sultan of Morocco, (1845), Musée des Augustins, Toulouse, France

In 1832, Delacroix traveled to Spain and North Africa, 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.[12] 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.[13] Delacroix was entranced by the people and the costumes, 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…"[12]

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 Moslem women to pose for him because of Muslim rules requiring that women be covered. Less problematical was the painting of Jewish women in North Africa, as subjects for the Jewish Wedding in Morocco (1837-41).

While in Tangier, he made many sketches of the people and the city, subjects to which he would return until the end of his life.[14] 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 exists many versions, painted between 1856 and 1861), and Arab Saddling his Horse (1855).

Murals and later life

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 which 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.[15]

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".[16]

From 1833 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. 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 in the Chapelle des Agnes at St. Sulpice. 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.[17]

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. 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.

Eugène Delacroix died in Paris, France and was buried there in the Père Lachaise Cemetery.

His house, formerly situated along the canal of the Marne, is now near the exit of the motorway leading from Paris to central Germany.

Legacy

Monument to Delacroix, at the Jardin du Luxembourg.

At the sale of his work in 1864, 9,140 works were attributed to Delacroix, including 853 paintings, 1,525 pastels and water colours, 6,629 drawings, 109 lithographs, and over 60 sketch books.[18] 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 's tomb in the Père Lachaise Cemetery.

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 Nicolò Paganini, and 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, 1826-7), both of which feature the virtuoso execution of his figure-based works.[19] He is also well known for his Journals, in which he gave eloquent expression to his thoughts on art and contemporary life.

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 St. Sulpice has been called the "finest mural painting of his time".[20]

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.[21]

Gallery

See also

References

  1. ^ 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
  2. ^ Gombrich, E.H., The Story of Art, page 504-6. Phaidon Press Limited, 1995. ISBN 0-7148-3355-x
  3. ^ Clark, Kenneth, Civilisation, page 313. Harper and Row, 1969.
  4. ^ Wellington, Hubert, The Journal of Eugène Delacroix, introduction, page xiv. Cornell University Press, 1980. ISBN 0-8014-9196-7
  5. ^ "Eugène Delacroix biography". Web Gallery of Art. http://www.wga.hu/bio/d/delacroi/biograph.html. Retrieved 2007-06-14.  André Castelot (Talleyrand ou le cynicisme [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.
  6. ^ Jobert, Barthélémy, Delacroix, page 62. Princeton University Press, 1997. ISBN 0-691-00418-8
  7. ^ a b Wellington, page xii.
  8. ^ Wellington, pages xii, 16.
  9. ^ Jobert, page 127.
  10. ^ Jobert, page 98.
  11. ^ Jobert, pages 116-18.
  12. ^ a b c d Wellington, page xv.
  13. ^ Jobert, page 140.
  14. ^ Wellington, page xvi.
  15. ^ Jobert, pages 245-6.
  16. ^ Baudelaire, quoted in Jobert, page 27.
  17. ^ Wellington, pages xxvii-xxviii.
  18. ^ Wellington, page xxviii.
  19. ^ Jobert, page 99.
  20. ^ Wellington, page xxiii.
  21. ^ [shanghaiist.com/2007/10/15/new_record_sale.php New record sale of a Chinese contemporary painting]

External links



Quotes

Up to date as of January 14, 2010

From Wikiquote

They say that truth is naked. I cannot admit this for any but abstract truths; in the arts, all truths are produced by methods which show the hand of the artist.

Eugène Delacroix (1798-04-261863-08-13) was a French painter, one of the leading Romanticists of the nineteenth century.

Contents

Sourced

Journal (1822 - 1824 and 1847 - 1863)

The Journal of Eugene Delacroix : A Selection (1980) edited by Hubert Wellington, translated by Lucy Norton, Cornell University Press ISBN 0-8014-9196-7
  • The contour should come last, only a very experienced eye can place it rightly.
    • Introduction (p. xxiv)
  • Of late, men seem to have been possessed by an incomprehensible impulse to strip themselves of everything with which nature has endowed them in order to make them superior to the beasts of burden. A philosopher is a gentleman who sits down four times a day to the best meals he can possibly obtain, and who considers that virtue, glory and noble sentiments should be indulged in only when they do not interfere with those four indispensable functions and all the rest of his little personal comforts. At this rate, a mule is a better philosopher by far, because in addition to all this he puts up with blows and hardship without complaint.
  • There is no merit in being truthful when one is truthful by nature, or rather when one can be nothing else; it is a gift, like poetry or music. But it needs courage to be truthful after carefully considering the matter, unless a kind of pride is involved; for example, the man who says to himself, "I am ugly," and then says, "I am ugly" to his friends, lest they should think themselves the first to make the discovery.
  • The Natural History Museum is open to the public on Tuesdays and Fridays. Elephant, rhinoceros, hippopotamus; extraordinary animals! Rubens rendered them marvellously. I had a feeling of happiness as soon as I entered the place and the further I went the stronger it grew. I felt my whole being rise above commonplaces and trivialities and the petty worries of my daily life.
Liberty Leading the People (1833)
  • I believe it safe to say that all progress must lead, not to further progress, but finally to the negation of progress, a return to the point of departure.
  • Commonplace people have an answer for everything and nothing ever surprises them. They try to look as though they knew what you were about to say better than you did yourself, and when it is their turn to speak, they repeat with great assurance something that they have heard other people say, as though it were their own invention.
  • Can any man say with certainty that he was happy at a particular moment of time which he remembers as being delightful? Remembering it certainly makes him happy, because he realizes how happy he could have been, but at the actual moment when the alleged happiness was occurring, did he really feel happy? He was like a man owning a piece of ground in which, unknown to himself, a treasure lay buried.
  • The more I think about colour, the more convinced I become that this reflected half-tint is the principle that must predominate, because it is this that gives the true tone, the tone that constitutes the value, the thing that matters in giving life and character to the object. Light, to which the schools teach us to attach equal importance and which they place on the canvas at the same time as the half-tint and shadow, is really only an accident. Without grasping this principle, one cannot understand true colour, I mean the colour that gives the feeling of thickness and depth and of that essential difference that distinguishes one object from another.
  • Perfect beauty implies perfect simplicity, a quality that at first sight does not arouse the emotions which we feel before gigantic works, objects whose very disproportion constitutes an element of beauty.
The Abduction of Rebecca (1858)
  • They say that each generation inherits from those that have gone before; if this were so there would be no limit to man's improvements or to his power of reaching perfection. But he is very far from receiving intact that storehouse of knowledge which the centuries have piled up before him; he may perfect some inventions, but in others, he lags behind the originators, and a great many inventions have been lost entirely. What he gains on the one hand, he loses on the other.
  • Delsarte tells me that Mozart stole outrageously from Galuppi, in the same way, I suppose, that Molière stole from anybody anywhere, if he found something work taking. I said that what was Mozart had not been stolen from Galuppi, or from anyone else for that matter.
  • We should not allow ourselves to believe that writers like Poe have more imagination than those who are content with describing things as they really are. It is surely easier to invent striking situations in this way than to tread the beaten track which intelligent minds have followed throughout the centuries.
  • We are told that Shakespeare's plays were generally performed in barns and that no great trouble was taken over the production. The constant changes of scene which, incidentally, seem the sign of a decadent art rather than one which is progressing, were shown by placards with the inscription: "A Forest," "A Prison," and so on. Within this conventional setting the onlooker's imagination was free to follow the actions of the various characters who were animated by passions drawn from nature, and that was enough for him. So-called innovations are gratefully seized on as an excuse for poverty of invention and in the same way, the long descriptive passages that so overburden modern novels are a sign of sterility, for it is obviously easier to describe a dress or the outward appearance of an object than to trace the subtle development of a character or portray the emotions of the heart.
  • He [ Titian ] is the least mannered and consequently the most varied of artists. Mannered talents have but one bias, one usage only. They are more apt to follow the impulse of the hand than to control it. Those that are less mannered must be more varied, for they continually respond to genuine emotion.
  • In every art we are always obliged to return to the accepted means of expression, the conventional language of the art. What is a black-and-white drawing but a convention to which the beholder has become so accustomed that with his mind's eye he sees a complete equivalent in the translation from nature?
Jacob Wrestling the Angel (1861)
  • For his contemporaries, Racine was a romantic, but for every age he is classical, that is to say, he is faultless.
  • Mythological subjects always new. Modern subjects difficult because of the absence of the nude and the wretchedness of modern costume.
  • Painting, in the beginning, was a trade like any other. Some men became picture-makers as others became glaziers or carpenters. Painters painted shields, saddles and banners. The primitive painter was more of a craftsman than we are; he learned his trade superlatively well before he thought of letting himself go. The reverse is true today.
  • Curiously enough, the Sublime is generally achieved through want of proportion.
  • Nature creates unity even in the parts of a whole.
  • The so-called conscientiousness of the great majority of painters is nothing but perfection laboriously applied to the art of being boring.
  • They say that truth is naked. I cannot admit this for any but abstract truths; in the arts, all truths are produced by methods which show the hand of the artist.
  • Weaknesses in men of genius are usually an exaggeration of their personal feeling; in the hands of feeble imitators they become the most flagrant blunders. Entire schools have been founded on misinterpretations of certain aspects of the masters. Lamentable mistakes have resulted from the thoughtless enthusiasm with which men have sought inspiration from the worst qualities of remarkable artists because they are unable to reproduce the sublime elements in their work.

Quotes about Delacroix

  • Delacroix, lac de sang hanté des mauvaises anges,
    Ombragés par un bois de sapins toujours vert,
    Où, sous un ciel chagrin, des fanfares étranges
    Passent, comme un soupir étouffé de Weber.
    • Delacroix, blood lake, domain of evil angels,
      Encircled by fir trees, in depths of green darkness,
      Where, under wincing skies, such eerie fanfares drift,
      Like a smothered, love-lost sigh, an air of Weber.
  • Delacroix était passionnément amoureux de la passion, et froidement déterminé à chercher les moyens d'exprimer la passion de la manière la plus visible. Dans ce double caractère, nous trouvons, disons-le en passant, les deux signes qui marquent les plus solides génies, génies extrêmes.
    • Delacroix was passionately in love with passion, and coldly determined to seek the means of expressing passion in the most visible manner. In this dual character, be it said in passing, we find the two distinguishing marks of the most substantial geniuses, extreme geniuses.
  • Ferdinand-Victor-Eugène Delacroix, a painter of noble lineage, who carried a sun in his head and storms in his heart; who for forty years played upon the keyboard of human passions, and whose brush— grandiose, terrifying or tender— passed from saints to warriors, from warriors to lovers, from lovers to tigers, and from tigers to flowers.
    • Théophile Silvestre, Les Artistes français, études d'après nature (1878)
  • His remains the finest palette in France and nobody in our country has possessed at once such calm and pathos, such shimmering color. We all paint in him.
  • This became Delacroix's theme: that the achievements of the spirit— all that a great library contained— were the result of a state of society so delicately balanced that at the least touch they would be crushed beneath an avalanche of pent-up animal forces.
Christ on the Sea of Galilee (1854)

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