Eugène Delacroix

A compelling insight into the French 19th-century painter's life and times.

Journal of Delacroix

Barthélémy Jobert

A comprehensive analysis and appreciation of the life and work of a great nineteenth-century artist offers hundreds of color reproductions of his works, an examination of his artistic influence and of the effects of his travels abroad, and much more. UP.

Delacroix

Edited by Jean Stewart. Introduction by John Russell.

Selected Letters, 1813-1863

Eugene Delacroix

George Sand

le rendez-vous manqué

Correspondance

Michele Hannoosh

The "Journal" of Eugene Delacroix is one of the most important works in the literature of art history: the record of a life at once public and private, it is also one of the richest and most fascinating aesthetic documents of the nineteenth century, as Delacroix reflects throughout on the relations between the arts, especially painting and writing. Indeed, he approaches the question from a unique perspective, that of a painter who wrote extensively and theorized his own writing in the "Journal," a painter who had a passion for literature and a powerful literary imagination, a narrative painter whose work is rooted in literature and the literary. This book is the first to explore the crucial importance of this relation for Delacroix's aesthetic theory and artistic practice. Countering the long critical tradition which sees his writing as the inverse of his painting, it argues that, through his diary and art criticism, he sought to develop a painter's writing, proper to painting itself, and that such a writing is closely related to his conception of pictorial art. This approach has significant implications for interpreting the narratives of his public decorations, four of which are analyzed here: the library schemes of the Senate and the Assemblee Nationale, the Apollo Gallery in the Louvre, and the Chapel of the Holy Angels at the church of Saint-Sulpice. Delacroix's ideas on the theoretical and practical relations between writing and painting, narrative and the image, are shown to be central not only to his aesthetic, but also to his views on civilization, history, and culture, and on the role of the artist in the modern world.

Painting and the Journal of Eugène Delacroix

In 1832, Eugène Delacroix accompanied a French diplomatic mission to Morocco, the first leg of a journey through the Maghreb and Andalusia that left an indelible impression on the painter. This comprehensive, annotated English-language translation of his notes and essays about this formative trip makes available a classic example of travel writing about the “Orient” from the era and provides a unique picture of the region against the backdrop of the French conquest of Algeria. Delacroix’s travels in Morocco, Algeria, and southern Spain led him to discover a culture about which he had held only imperfect and stereotypical ideas and provided a rich store of images that fed his imagination forever after. He wrote extensively about these experiences in several stunningly beautiful notebooks, noting the places he visited, routes he followed, scenes he observed, and people he encountered. Later, Delacroix wrote two articles about the trip, “A Jewish Wedding in Morocco” and the recently discovered “Memories of a Visit to Morocco,” in which he shared these extraordinary experiences, revealing how deeply influential the trip was to his art and career. Never before translated into English, Journey to the Maghreb and Andalusia, 1832 includes Delacroix’s two articles, four previously known travel notebooks, fragments of two additional, recently discovered notebooks, and numerous notes and drafts. Michèle Hannoosh supplements these with an insightful introduction, full critical notes, appendices, and biographies, creating an essential volume for scholars and readers interested in Delacroix, French art history, Northern Africa, and nineteenth-century travel and culture.

The Travel Notebooks and Other Writings

Journey to the Maghreb and Andalusia, 1832

Peter Russell

The leader of the French Romantic school of art, Eugène Delacroix was influential in the development of both Impressionist and Post-Impressionist painting, producing historical and contemporary masterpieces that would change the course of art. Delphi Classics’ Masters of Art Series presents the world’s first digital e-Art books, allowing readers to explore the works of great artists in comprehensive detail. This volume presents Delacroix’s complete paintings in beautiful detail, with concise introductions, hundreds of high quality images and the usual Delphi bonus material. (Version 1) * The complete paintings of Eugène Delacroix — over 200 paintings, fully indexed and arranged in chronological and alphabetical order * Includes reproductions of many rare works * Features a special ‘Highlights’ section, with concise introductions to the masterpieces, giving valuable contextual information * Enlarged ‘Detail’ images, allowing you to explore Delacroix’s celebrated works in detail, as featured in traditional art books * Hundreds of images in stunning colour – highly recommended for viewing on tablets and smart phones or as a valuable reference tool on more conventional eReaders * Special chronological and alphabetical contents tables for the complete paintings * Easily locate the paintings you want to view * Includes Delacroix's a selection of drawings and lithographs - explore the artist’s varied works * Features a bonus biography - discover Delacroix's artistic and personal life * Scholarly ordering of plates into chronological order Please visit www.delphiclassics.com to browse through our range of exciting e-Art books CONTENTS: The Highlights MADEMOISELLE ROSE THE BARQUE OF DANTE ORPHAN GIRL AT THE CEMETERY THE MASSACRE AT CHIOS GREECE ON THE RUINS OF MISSOLONGHI THE DEATH OF SARDANAPALUS LIBERTY LEADING THE PEOPLE THE WOMEN OF ALGIERS SELF-PORTRAIT, 1837 MEDEA ABOUT TO KILL HER CHILDREN POTRTRAIT OF FRÉDÉRIC CHOPIN FANATICS OF TANGIER HAMLET WITH HORATIO THE SULTAN OF MOROCCO AND HIS ENTOURAGE APOLLO SLAYS PYTHON THE SEA FROM THE HEIGHTS OF DIEPPE MOROCCAN SADDLES HIS HORSE LION HUNT OVID AMONG THE SCYTHIANS The Paintings THE COMPLETE PAINTINGS ALPHABETICAL LIST OF PAINTINGS The Drawings LIST OF DRAWINGS The Biography DELACROIX by Paul G. Konody Please visit www.delphiclassics.com to browse through our range of exciting titles or to buy the whole Art series as a Super Set

Delphi Complete Paintings of Eugene Delacroix (Illustrated)

Per Bjurström

Delacroix' lejonjakter

Gilles Néret

At Delacroix' studio sale, held six months after his death in 1864, crowds and critics were astonished at both the abundance and the multi-disciplinary nature of the work on display, the life's vision of a man praised by Baudelaire for being the last great artist of the Renaissance period and the first of the Modern. But Delacroix himself was well aware of the position he wanted to occupy. Taking his cue from Rubens in both lifestyle and visual inventiveness, he took the order of classical composition and allied it to a universally appreciated symbolic and allegorical intent, producing from that marriage works of unmatched integrity and sensuality. From the spectacular Salon reception in 1824 to a work such as the major Scenes from the Chios Massacre (when the term Romantique was first applied to his style) through to the liberating and controversial carnality of The Agony in the Garden, Delacroix' genius in graphic design, in the liberation and reinvention of colour, and in the portrayal of bodies was never in doubt. His numerous sketchbooks attest to a personality committed to the most truthful results, in both his Goyaesque fantasias of horror, cruelty and sacrifice and in his huge historical canvases. Excessive, monumental, Byronic even, this Victor Hugo of the art world has proved profoundly influential, his technique studied by movements as diverse as Impressionism, Expressionism and the Abstract painters of mid-century. Leaving the self-indulgence of the Romantics far behind, the nobility of Delacroix' spirit will continue to speak to any and every age.

Le Journal d'Eugène Delacroix se compose de notes prises au jour le jour, écrites à bâtons rompus, où le grand artiste jetait chaque soir au courant de la plume, sans ordre, sans plan, sans transitions, toutes les idées, les réflexions, les théories, les extases, les découragements qui pouvaient traverser son esprit toujours en travail. Commencé en 1823 par un jeune homme de vingt-deux ans, dans la fièvre d'une vie ardente et tourmentée, ce Journal a d'abord l'allure rapide et quelque peu décousue; à mesure que les années s'avancent, le sang s'apaise, l'esprit se mûrit et s'élève, l'expérience naît, l'horizon s'élargit, le style se précise et les aperçus succincts du début font place peu à peu à de véritables morceaux littéraires. Ces notes qui n'étaient pas destinées à voir le jour et qui embrassent une période de plus de quarante années, se trouvent consignées sur une série de petits cahiers, de calepins et d'agendas portant chacun sa date. L'existence de ce Journal était connue: des copies en furent prises; à la mort de Delacroix, elles demeurèrent entre les mains de l'élève le plus fidèle, du véritable disciple du maître, le peintre Pierre Andrieu, à qui nous devons rendre ici un sincère hommage. La vénération d'Andrieu pour Delacroix avait revêtu le caractère d'une véritable religion: dépositaire de la pensée du grand peintre, il résolut de la garder pour lui seul, et, tant qu'il vécut, il se refusa à publier ces pages qu'il relisait sans cesse. Pierre Andrieu est mort l'an dernier. Sa veuve et sa fille n'ont pas cru devoir priver plus longtemps le public d'un document si précieux pour l'histoire de l'art, et elles nous ont confié la mission de le mettre au jour. La publication actuelle est donc faite d'après les papiers remis à Pierre Andrieu. Mais pour écarter toute critique, éviter toute erreur et assurer à la pensée de l'écrivain toute son exactitude et toute son autorité, les éditeurs ont pensé qu'il était indispensable de contrôler ces notes, page par page, sur les manuscrits originaux. Le petit-neveu du grand peintre, M. de Verninac, sénateur du Lot, avec une bonne grâce et une courtoisie dont nous ne saurions trop le remercier, nous a permis de faire ce travail de vérification sur les originaux eux-mêmes, qu'il a bien voulu nous communiquer. Si dans ce Journal certaines lacunes sont à constater, notamment pour la période de 1848, par contre nous avons eu la bonne fortune de retrouver certains carnets qu'on croyait égarés. Le fameux voyage au Maroc, dont la trace semblait perdue, appartient aujourd'hui à M. le professeur Charcot, qui nous a permis de reproduire cet épisode capital dans la carrière artistique du maître; nous sommes heureux de pouvoir lui adresser ici l'expression de notre gratitude. Nous avons fait également appel au souvenir des anciens amis, des élèves et des admirateurs de Delacroix; tous se sont empressés de mettre à notre disposition les renseignements et les documents qu'ils pouvaient posséder. En nous accordant leur bienveillant concours, Mme Riesener, M. le marquis de Chennevières, MM. Robaut, Faure, Paul Colin, Maurice Tourneux, Monval, Bornot, le commandant Campagnac, nous ont aidés dans notre tâche, et c'est un devoir pour nous d'inscrire leurs noms en tête de cette publication.

Journal de Eugène Delacroix (Complete)

Metropolitan Museum of Art (New York, N.Y.)

"Issued in conjunction with the exhibition ... held at the Metropolitan Museum of Art, New York, from April 10, 1991, through June 16, 1991"--T.p. verso.

Eugène Delacroix

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