Collezione
Eugene Delacroix
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Jewess of Algiers and a Street in Algiers - Eugène DelacroixPrint · Framed
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Christ in the Garden of Gethsemane - Eugène DelacroixPrint · Framed
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Méphistophélés and Faust flee after the duel - Eugène DelacroixPrint · Framed
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The Chalk Cliffs at Dieppe - Eugène DelacroixPrint
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Macbeth e le streghe - Ferdinand-Victor-Eugène DelacroixPrint · Framed
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Cristo sul mare di Galilea - Eugène DelacroixPrint · Framed
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Un fabbro (A Blacksmith) - Eugène DelacroixPrint · Framed
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Tigre che beve - Eugène DelacroixPrint · Framed
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Radura nella foresta - Ferdinand-Victor-Eugène DelacroixPrint · Framed
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Steenie o Redgauntlet perseguitato da un fantasma - Ferdinand-Victor-Eugène DelacroixPrint · Framed
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Due leoni a riposo - Ferdinand-Victor-Eugène DelacroixPrint · Framed
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Cristo cammina sulle acque - Eugène DelacroixPrint · Framed
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Francesco I e la sua amante (Anne de Pisseleu) - Ferdinand-Victor-Eugène DelacroixPrint · Framed
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Un turco si arrende a un cavaliere greco - Ferdinand-Victor-Eugène DelacroixPrint · Framed
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Il conte Demetrius de Palatiano in costume suliota - Eugène DelacroixPrint · Framed
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Mlle. Alexandrine-Julie de la Boutraye - Eugène DelacroixPrint · Framed
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La tentazione di sant'Antonio - Eugène DelacroixPrint · Framed · Canvas
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Rebecca e l'Ivanhoe ferito - Eugène DelacroixPrint · Framed · Canvas
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Illustrazioni per il Faust: Mefistofele è da Marta - Eugène DelacroixPrint · Framed · Canvas
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Cavalieri greci a riposo in una foresta - Eugène DelacroixPrint · Framed · Canvas
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Combattimento tra il Giaurro e il Pascià - Eugène DelacroixPrint · Framed · Canvas
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Re Rodrigo - Eugène DelacroixPrint · Framed · Canvas
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Tigre che dorme - Eugène DelacroixPrint · Framed · Canvas
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Aspasia - Eugène DelacroixPrint · Framed · Canvas
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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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