Collection
Eugene Delacroix
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Combat of the Giaour and the Pasha - Eugène DelacroixPrint · Framed · Canvas
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Brother Martin Fitting Götz with his Iron Hand - Eugène DelacroixPrint · Framed · Canvas
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Portrait of Johann Wolfgang von Goethe - Eugène DelacroixPrint · Framed · Canvas
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Méphistophélés in the Tavern of the Students - Eugène DelacroixPrint · Framed · Canvas
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Man on Horseback in the Desert - Eugène DelacroixPrint · Framed · Canvas
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Duel of Faust and of Valentin - Eugène DelacroixPrint · Framed · Canvas
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Faust and Wagner - Eugène DelacroixPrint · Framed · Canvas
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Méphistophélès receives the student - Eugène DelacroixPrint
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Illustrations for Faust: Faust and Méphistophélés in the mountains of the Hartz - Eugène DelacroixPrint · Framed · Canvas
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Faust in his dressing-room - Eugène DelacroixPrint · Framed · Canvas
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Faust in the Prison of Marguerite - Eugène DelacroixPrint · Framed · Canvas
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Marguerite at Church (from Faust) - Eugène DelacroixPrint · Framed · Canvas
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Méphistophélés visits Faust - Eugène DelacroixPrint · Framed · Canvas
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Faust and Méphistophélés riding to the Witches' Sabbath - Eugène DelacroixPrint · Framed · Canvas
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Basket of Flowers - Eugène DelacroixPrint · Framed · Canvas
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Christ Asleep during the Tempest - Eugène DelacroixPrint · Framed · Canvas
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Macbeth Consulting the Witches - Eugène DelacroixPrint
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Moroccan Fantasia - Eugène DelacroixPrint
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Madame Henri François Riesener (Félicité Longrois, 1786–1847) - Eugène DelacroixPrint
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Ovid among the Scythians - Eugène DelacroixPrint
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Hamlet and His Mother - Eugène DelacroixPrint
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Rebecca Kidnapped by the Templar, Sir Brian de Bois-Guilbert - Eugène DelacroixPrint
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Fanatics of Tangier - Eugène DelacroixPrint
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Self Portrait - Eugène DelacroixPrint
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Artist Biography
Eugene Delacroix
Delacroix painted Liberty leading the people over a barricade of corpses and gave Romanticism its defining image. Liberty Leading the People (1830) shows a bare-breasted woman holding the tricolour, striding over the dead, accompanied by a boy with pistols. It commemorates the July Revolution. Delacroix included himself in the painting, wearing a top hat and carrying a rifle. Whether he actually fought on the barricades is unlikely but characteristic.
He was born in Charenton-Saint-Maurice, near Paris. His legal father was a diplomat. His biological father may have been Talleyrand, the foreign minister, which would explain several things about his career including his early access to government commissions. He studied at the Ecole des Beaux-Arts under Pierre-Narcisse Guerin and was influenced by Gericault's The Raft of the Medusa, which showed him that contemporary events could be painted at the scale previously reserved for mythology.
His brushwork was loose and fast by the standards of the Academy. He preferred colour to line, which put him in direct opposition to Ingres, the master of precise contour. The rivalry between Delacroix and Ingres, colour versus drawing, became the central argument of French painting in the mid-nineteenth century. Delacroix won in the long run: the Impressionists claimed him, the Fauves revered him, and Cezanne called him the starting point of modern painting.
He travelled to Morocco in 1832 and came back with notebooks full of colour studies that influenced the rest of his career. The North African light loosened his palette permanently. He died in 1863, at sixty-five, and left a journal that is one of the most intelligent accounts of painting ever written.
He was born in Charenton-Saint-Maurice, near Paris. His legal father was a diplomat. His biological father may have been Talleyrand, the foreign minister, which would explain several things about his career including his early access to government commissions. He studied at the Ecole des Beaux-Arts under Pierre-Narcisse Guerin and was influenced by Gericault's The Raft of the Medusa, which showed him that contemporary events could be painted at the scale previously reserved for mythology.
His brushwork was loose and fast by the standards of the Academy. He preferred colour to line, which put him in direct opposition to Ingres, the master of precise contour. The rivalry between Delacroix and Ingres, colour versus drawing, became the central argument of French painting in the mid-nineteenth century. Delacroix won in the long run: the Impressionists claimed him, the Fauves revered him, and Cezanne called him the starting point of modern painting.
He travelled to Morocco in 1832 and came back with notebooks full of colour studies that influenced the rest of his career. The North African light loosened his palette permanently. He died in 1863, at sixty-five, and left a journal that is one of the most intelligent accounts of painting ever written.
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