Top 100 - Eugène Delacroix
The 100 known paintings that tell the story of Eugène Delacroix
Revolutions, shipwrecks, Shakespeare, Morocco, horses, wild animals and immense ceilings: Delacroix gives color enough energy to push the walls.
Eugène Delacroix paints as if history had just opened the door without knocking. At home, even calmness generally keeps a horse ready to leave.
Color makes history
One hundred paintings, calm rarely has the last word
Delacroix won at the Salon of 1822 with Dante's Boat, then quickly expanded his territory. Scenes from the massacres of Scio watches a contemporary tragedy without a central hero, The Death of Sardanapalus pushes disorder to the point of vertigo and Liberty Leading the People mixes allegory, barricade and current events. French romanticism finds there its great colorist, but also a painter who knows that a composition can move forward like a crowd.
Delacroix circulates the same energy between a barricade, a verse by Shakespeare, a Moroccan ceremony and a prancing horse. The painting advances; the furniture is asked to follow.Switch to images
Classification in images
Liberté, Scio, Sardanapale, Dante, Femmes d'Alger and Missolonghi open with the great paintings that built his reputation.
#1
Freedom guiding the people
For "Liberty Leading the People": Painted after the Three Glorious Years of July 1830, the canvas combines an ancient allegory and contemporary fighters on a Parisian barricade; the line leads the gaze without rigidity. For this version of "Liberty Leading the People": The flag, the triangular march and the smoke transform current events into collective images without cleaning the paving stones of their dead. Dated 1830, "Liberty Leading the People" is kept at the Louvre Museum, Paris and measures 260 x 325 cm. For "Liberty Leading the People" by Eugène Delacroix, the balance between observation and memory remains decisive; Eugène Delacroix adjusts the distance to do so maintain presence and memory in the same surface. "Liberty Leading the People" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze. "Liberty Leading the People" retains this rare quality: a spectacular image that becomes more precise, and no longer empty, when viewed for a long time.
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#2
Scenes from the Scio massacres
For "Scenes from the Scio Massacres": Delacroix responds to the massacre of Greek populations on the island of Chios with an immense painting without a victorious hero; color leads the gaze without rigidity. For this version of "Scenes from the Scio Massacres": The prisoners, the dying and the Ottoman horseman occupy an open composition where the landscape continues beyond the frame as if the catastrophe refused to be contained. "Scenes from the Scio Massacres" is dated 1824 and kept at the Louvre Museum, Paris; it measures 419 x 354 cm. For "Scenes from the Scio Massacres" is dated 1824 and kept at the Louvre Museum, Paris; it measures 419 x 354 cm. For "Scenes from the Scio Massacres" is dated 1824 and kept at the Louvre Museum, Paris; it measures 419 x 354 cm. For "Scenes from the Scio Massacres" is dated 1824 and kept at the Louvre Museum, Paris; it measures 419 x 354 cm. For "Scenes from the Scio Massacres" is dated 1824 and kept at the Louvre Museum, Paris; it measures 419 x 354 cm. For "Scenes from the Scio Massacres" is dated 1824 and kept at the Louvre Museum, Paris; it measures 419 x 354 cm. For "Scenes passages of light which give the painting its true tempo. "Scenes from the Scio massacres" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze. "Scenes from the Scio Massacres" proves that an ancient scene can remain current when the painter truly organizes what makes it human.
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#3
The Death of Sardanapalus
For "The Death of Sardanapalus": Inspired by Byron, Sardanapalus contemplates from his bed the destruction of his property, his horses and his loved ones; the rhythm leads the gaze without rigidity. For this version of "The Death of Sardanapalus": The red, the diagonals and the accumulation of bodies make up a very calculated disorder, proof that pictorial chaos can have an excellent sense of organization. In "The Death of Sardanapalus", the work is dated 1827; it is kept at the Louvre Museum, Paris; it measures 392 x 496 cm. For "The Death of Sardanapalus", the work is dated 1827; it is kept at the Louvre Museum, Paris; it measures 392 x 496 cm. For "The Death of Sardanapalus", the work is dated 1827; it is kept at the Louvre Museum, Paris; it measures 392 x 496 cm. For "The Death of Sardanapalus", the work is dated 1827; it is kept at the Louvre Museum, Paris; it measures 392 x 496 cm. For "The Death of Sardanapalus", the work is dated 1827; it is kept at the Louvre Museum, Paris; it measures 392 x 496 cm. For "The Death of Sardanapalus", the work is dated 1827; it is kept this great disease of too much looking. "The Death of Sardanapalus" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze. "The Death of Sardanapalus" brings together memory, invention and observation; three guests who do not always dine calmly, but produce an excellent conversation here.
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#4
Dante's Boat
For "Dante's Boat": For his first great success at the Salon of 1822, Delacroix placed Dante and Virgil in Phlegias' boat, surrounded by the damned who clung to the boat; the framing leads the gaze without rigidity. For this version of "Dante's Boat": The wet flesh, the city on fire and the colors reflected in the drops already announce his taste for moving drama. "Dante's Boat" is dated 1822; it measures 189 x 241 cm; it is kept at the Louvre Museum, Paris. For "Dante's Boat" is dated 1822; it measures 189 x 241 cm; it is kept at the Louvre Museum, Paris. For "Dante's Boat" is dated 1822; it measures 189 x 241 cm; it is kept at the Louvre Museum, Paris. For "Dante's Boat" is dated 1822; it measures 189 x 241 cm; it is kept at the Louvre Museum, Paris. For "Dante's Boat" is dated 1822; it measures 189 x 241 cm; it is kept at the Louvre Museum, Paris. For "Dante's Boat" is dated 1822; it measures 189 x 241 cm; it is kept at the Louvre Museum, Paris. For " small authority. "La Barque de Dante" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze. The pleasure of "La Barque de Dante" comes from this continuous circulation between detail, ensemble and emotion, without a checkpoint in the middle of the painting.
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#5
Women of Algiers in their apartment
For "Women of Algiers in their apartment": After his visit to Algiers in 1832, Delacroix rebuilt an interior where three women and a servant occupied a calm space, dense with fabrics, earthenware and light; the surface leads the gaze without rigidity. For this version of "Women of Algiers in their apartment": The scene shifts its energy towards colorful accords, while fully belonging to the orientalist and colonial gaze of its time. Today kept in the paintings department of the Louvre Museum, "Women of Algiers in their apartment" is dated 1834 and measures 180 x 229 cm. For "Women of Algiers in their apartment", "Women of Algiers in their apartment" is dated 1834 and measures 180 x 229 cm. For "Women of Algiers in their apartment", "Women of Algiers in their apartment" is dated 1834 and measures 180 x 229 cm. For "Women of Algiers in their apartment", "Women of Algiers in their apartment" is dated 1834 and measures 180 x 229 cm. For "Women of Algiers in their apartment", "Women of Algiers in their apartment" is dated 1834 and measures 180 x 229 cm. For "Women of Algiers in their apartment", "Women of Algiers in their apartment" is dated 1834 and measures 180 x 229 cm. For "Women of Algiers in their of the image, this singularity matters a lot: it avoids the interchangeable pattern effect, this great disease of too eager glances. In "Women of Algiers in their apartment", the memory of the North African trip mixes with the reconstruction of a workshop; the pictorial brilliance remains linked to the orientalist gaze and the colonial context of the 19th century. The gaze returns to "Women of Algiers in their apartment" because its balance remains active: stable from afar, much less peaceful as soon as you approach.
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#6
Greece on the ruins of Missolonghi
For "Greece on the Ruins of Missolonghi": Greece personified stands on the ruins of Missolonghi after the fall of the city in 1826; the contrast leads the gaze without rigidity. For this version of "Greece on the Ruins of Missolonghi": Its white dress, its open arms and the hand of the fighter emerging from the stones give political mourning the form of an apparition as clear as a cry. In "Greece on the Ruins of Missolonghi", the work is dated 1826; it is kept at the Museum of Fine Arts in Bordeaux; it measures 213 x 142 cm. For "Greece on the Ruins of Missolonghi" by Eugène Delacroix, the painting is dated 1826; it is kept at the Museum of Fine Arts in Bordeaux; it measures 213 x 142 cm. For "Greece on the Ruins of Missolonghi", the work is dated 1826; it is kept at the Museum of Fine Arts in Bordeaux; it measures 1826; it is kept at the Museum of Fine Arts in Bordeaux; it measures 1826; it is kept at the Museum of Fine Arts in Bordeaux; it measures 1826; it is kept at the Museum of Fine Arts in Bordeaux; it measures 1826; it is kept at the Museum of Fine Arts in Bordeaux; it measures 1826; it is kept at the Museum of affirms a way of seeing where matter, distance and light work together. "Greece on the ruins of Missolonghi" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze. The gaze returns to "Greece on the ruins of Missolonghi" because its balance remains active: stable from afar, much less peaceful as soon as you approach.
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#7
Capture of Constantinople by the Crusaders
For "Capture of Constantinople by the Crusaders": Commissioned for Versailles, the Crusaders' entry into Constantinople shows the victors on horseback facing the kneeling inhabitants and an immense city; the motif leads the gaze there without rigidity. For this version of "Capture of Constantinople by the Crusaders": Delacroix favors triumph less than the moral vertigo of a conquest, with brilliant armor which fails to make the scene comfortable. Dated 1840, "Capture of Constantinople by the Crusaders": Delacroix favors triumph less than the moral vertigo of a conquest, with brilliant armor which fails to make the scene comfortable. Dated 1840, "Capture of Constantinople by the Crusaders" is kept less at the Louvre Museum, Paris and measures 411 x 497 cm. For "Capture of Constantinople by the Crusaders" is kept at the Louvre Museum, Paris and measures 411 x 497 cm. For "Capture of Constantinople by the Crusaders" is kept at the Louvre Museum, Paris and measures 411 x 497 cm. For "Capture of Constantinople by the Crusaders" by Eugène Delacroix, the force comes less suddenly brilliance and balance: enough structure to guide the eye, enough breathing to let the scene live. "Take of Constantinople by the Crusaders" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze. The pleasure of "Take Constantinople by the Crusaders" comes from this continuous circulation between detail, ensemble and emotion, without a checkpoint in the middle of the painting.
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#8
Jacob's Struggle with the Angel
For "Jacob's Struggle with the Angel": In the Chapel of the Holy Angels in Saint-Sulpice, Jacob and the angel fight at the foot of monumental trees while a caravan moves away; the composition leads the gaze without rigidity. For this version of "Jacob's Struggle with the Angel": The fight occupies an almost modest part of the setting; the forest and the landscape give the human ordeal a scale that goes beyond the two bodies. Dated 1854-1861, "Jacob's Struggle with the Angel" is preserved at the Saint-Sulpice Church in Paris and measures 751 x 485 cm. For "Jacob's Struggle with the Angel" by Eugène Delacroix, the painting is kept at the Saint-Sulpice Church in Paris and measures 751 x 485 cm. For "Jacob's Struggle with the Angel" by Eugène Delacroix, the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. In "Jacob's Struggle with the Angel", the religious or monumental subject becomes a physical experience of light, fall, elevation and space, far from a simply tidy pious image. In "Jacob's Struggle with the Angel", energy does not mean disorder; on the contrary, it reveals a composition which knows exactly where it wants to lead the eye.
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#9
Furious Medea
For "Furious Medea": Medea hugs her children while holding the dagger that announces their murder; the line gives its temperature to the whole. For this version of "Furious Medea": The dark rock, the twisting of bodies and the flash of skin concentrate the tragedy on a suspended moment where tenderness and violence dangerously share the same space. Dated 1861, "Furious Medea" is kept at the Louvre Museum, Paris and measures 122 x 84 cm. For Eugène Delacroix's "Furious Medea", the eye is kept at the Louvre Museum, Paris and measures 122 x 84 cm. For Eugène Delacroix's "Furious Medea", the eye is kept at the Louvre Museum, Paris and measures 122 x 84 cm. For Eugène Delacroix's "Furious Medea", the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. "Furious Medea" belongs to the large historical laboratory of Delacroix, where the event serves to experience color, space and responsibility of the gaze. "Furious Medea" thus resists simple illustration and becomes an experience of surface, depth and movement.
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#10
Young Orphan at the cemetery
For "Young Orphan in the Cemetery": A young girl looks up in a landscape of tombs and cold skies; the color gives the whole thing its temperature. For this version of "Young Orphan in the Cemetery": Probably linked to studies for Scio, the work transforms an isolated face into a summary of fear, fatigue and waiting, without needing to summon an entire regiment of extras. "Young Orphan in the Cemetery" is dated 1824 and kept at the Louvre Museum, Paris; it measures 65 x 54 cm. For "Young Orphan in the Cemetery" is dated 1824 and kept at the Louvre Museum, Paris; it measures 65 x 54 cm. For "Young Orphan in the Cemetery" is dated 1824 and kept at the Louvre Museum, Paris; it measures 65 x 54 cm. For "Young Orphan in the Cemetery" is dated 1824 and kept at the Louvre Museum, Paris; it measures 65 x 54 cm. For "Young Orphan in the Cemetery" is dated 1824 and kept at the Louvre Museum, Paris; it measures 65 x 54 cm. For "Young Orphan in the Cemetery" by Eugène Delacroix, the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. "Young Orphan in the Cemetery" belongs to the great historical laboratory of Delacroix, where the event serves to experience color, space and responsibility of the gaze. The strength of "Young Orphan in the Cemetery" lies in this unity: the story remains understandable, but the painting retains the last word.
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#11
Self-portrait with green vest
For "Self-portrait with a green vest": Delacroix depicts himself in three quarters, the direct gaze and the green vest sharp on the brown background; the rhythm gives its temperature to the whole. For this version of "Self-portrait with a green vest": The pose remains sober, but the tension of the face and the economy of the decor give the artist a presence as attentive as it is reluctant to chat to fill the silence. "Self-portrait with a green vest" is dated 1837 and kept in the paintings department of the Louvre Museum; it measures 65 x 54.5 cm. For "Self-portrait with a green vest" is kept in the Louvre Museum's paintings department; it measures 65 x 54.5 cm. For "Self-portrait with a green vest" by Eugène Delacroix, the painting does not only seek to seduce; it affirms a way of seeing where material, distance and light work together. The "Self-portrait with green vest" portrait shifts the intensity towards the face, pose and light; the model does not move much, but the presence remains far from immobile. Color gives "Self-portrait with green vest" its own voice, a voice capable of speaking loudly without transforming each passage into speech.
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#12
Lion hunting
For "Lion Hunt": Presented during the Universal Exhibition of 1855, the great Lion Hunt brings together riders, wild animals and horses in a whirlwind nourished by Rubens and Moroccan memories; the framing gives its temperature to the whole. For this version of "Lion Hunt": Part of the original canvas burned; the energy of the composition had clearly taken precautions. In "Lion Hunt", the work is dated 1854; it is kept at the Musée d’Orsay; it measures 90 x 116.7 cm. In "Lion Hunt", the work is dated 1854; it is kept at the Musée d’Orsay; it measures 90 x 116.7 cm. In "Lion Hunt", the work is dated 1854; it is kept at the Musée d’Orsay; it measures 90 x 116.7 cm. In "Lion Hunt", the work is dated 1854; it is kept at the Musée d’Orsay; it measures 90 x 116.7 cm. In "Lion Hunt", the work is dated 1854; it is kept at the Musée d’Orsay; it measures 90 x 116.7 cm. In "Lion Hunt", the work is dated 1854; it is kept at the Musée d’Orsay; it measures 90 x 116.7 cm. table your true tempo. With "Lion Hunt", the animal serves to understand the energy of the body: supports, twists, weight and speed give the movement a more solid logic than just the spectacular one. "Lion Hunt" shows why Delacroix influences modern colorists: emotion is not added to the subject, it is constructed in matter.
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#13
Jewish wedding in Morocco
For "Jewish Wedding in Morocco": Delacroix remembers a festival observed in Tangier and organizes musicians, dancers, guests and architecture around a bright courtyard; the surface gives its temperature to the whole. For this version of "Jewish Wedding in Morocco": The groups, shadows and colorful touches give the ceremony a precise social rhythm, reconstructed several years after the trip. In "Jewish Wedding in Morocco", the work is dated 1839; it is kept at the Louvre Museum; it measures 105 x 140 cm. For "Jewish Wedding in Morocco" by Eugène Delacroix, on the scale of the image, this singularity counts a lot: it avoids the interchangeable motif effect, this great illness looks too rushed. In "Jewish Wedding in Morocco", the memory of the North African trip mixes with the reconstruction of the workshop; the pictorial brilliance remains linked to the orientalist gaze and the colonial context of the 19th century. "Jewish Wedding in Morocco" brings together memory, invention and observation; three guests who do not always dine calmly, but produce an excellent conversation here.
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#14
The Sultan of Morocco
For "The Sultan of Morocco": Moulay Abd er-Rahman appears on horseback, surrounded by his guard in front of the ramparts of Meknes; the contrast gives its temperature to the whole. For this version of "The Sultan of Morocco": The diplomatic protocol becomes a vast agreement of white, red and green where majesty rests as much on the immobility of the sovereign as on the contained agitation of those around him. In "The Sultan of Morocco", the work is dated 1832 verse; it is kept at the Museum of Fine Arts in Dijon; it measures 31 x 40 cm. For "The Sultan of Morocco", the work is dated 1832 verse; it is kept at the Museum of Fine Arts in Dijon; it measures 31 x 40 cm. For "The Sultan of Morocco", the work is dated 1832 verse; it is kept at the Museum of Fine Arts in Dijon; it measures 31 x 40 cm. For "The Sultan of Morocco" by Eugène Delacroix, the strength comes less from a stroke of brilliance than from a balance: for "The Sultan of Morocco" by Eugène Delacroix, the strength comes less from a stroke of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "The Sultan of Morocco", the memory of the North African trip mixes with the reconstruction of the workshop; the pictorial brilliance remains linked to the orientalist gaze and the colonial context of the 19th century. Delacroix gives "The Sultan of Morocco" enough air to breathe and enough tension so that no one falls asleep during the visit.
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#15
The Rapture of Rebecca
For "The Rapture of Rebecca": Taken from Ivanhoé by Walter Scott, Rebecca is carried away from a burning castle by Bois-Guilbert's men; the motif gives its temperature to the whole. For this version of "The Rapture of Rebecca": The bodies, legs of the horse and the valley cross in tight diagonals; the rescue can wait, the composition is already galloping. In "The Rapture of Rebecca", the work is dated 1846; it is kept at the Metropolitan Museum of Art, New York; it measures 100.3 x 81.9 cm. For "The Rapture of Rebecca", the work is dated 1846; it is kept at the Metropolitan Museum of Art, New York; it measures 100.3 x 81.9 cm. For "The Rapture of Rebecca", the work is dated 1846; it is kept at the Metropolitan Museum of Art, New York; it measures 100.3 x 81.9 cm. For "The Rapture of Rebecca", the work is dated 1846; it is kept at the Metropolitan Museum of Art, New York; it measures 100.3 x 81.9 cm. For "The Rapture of Rebecca", the work is dated 1846; it is kept at the Metropolitan Museum of Art, New York; it measures 100.3 x 81.9 cm. For which give the painting its true tempo. For "The Rapture of Rebecca", literature provides a situation and not instructions for use; Delacroix condenses the text until gesture and color can speak again. "The Rapture of Rebecca" proves that an ancient scene can remain current when the painter truly organizes what makes it human.
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#16
The Natchez
For "Les Natchez": Inspired by Atala de Chateaubriand, two natchez survivors contemplate their newborn after fleeing the massacre of their people; the composition gives its temperature to the whole. For this version of "Les Natchez": Delacroix takes a painting begun in the 1820s and completes it in 1835, giving family tenderness a landscape full of exile. "Les Natchez" is dated 1823-1824 and 1835; it measures 90.2 x 116.8 cm; it is kept at the Metropolitan Museum of Art, New York. For "Les Natchez" is dated 1823-1824 and 1835; it measures 90.2 x 116.8 cm; it is kept at the Metropolitan Museum of Art, New York. For "Les Natchez" is dated 1823-1824 and 1835; it measures 90.2 x 116.8 cm; it is kept at the Metropolitan Museum of Art, New York. For "Les Natchez" is dated 1823-1824 and 1835; it measures 90.2 x 116.8 cm; it is kept at the Metropolitan Museum of Art, New York. For "Les Natchez" is dated 1823-1824 and 1835; it measures 90.2 x 116 live the scene. For "Les Natchez", literature provides a situation and not instructions; Delacroix condenses the text until the gesture and color can speak again. "Les Natchez" thus resists simple illustration and becomes an experience of surface, depth and movement.
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#17
Ovid among the Scythians
For "Ovid among the Scythians": The poet Ovid, exiled to the shores of the Black Sea, receives food and milk from the Scythians; the line usefully delays the first reading. For this version of "Ovid among the Scythians": Delacroix distributes the figures like a frieze in a vast late landscape, less interested in punishment than in the hospitality offered to the poet far from Rome. "Ovid among the Scythians" is dated 1859 and kept at the National Gallery, London; it measures 87.6 x 130.2 cm. For "Ovid among the Scythians" by Eugène Delacroix, on the scale of the image, this singularity counts a lot: it avoids the interchangeable motif effect, this great disease of looks too rushed. "Ovid among the Scythians" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze. "Ovid among the Scythians" retains this rare quality: a spectacular image that becomes more precise, and no longer empty, when viewed for a long time.
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#18
Christ on Lake Gennesaret
For "Christ on Lake Gennesaret": Christ sleeps in a boat shaken by the storm while the disciples fight against the waves; color usefully delays the first reading. For this version of "Christ on Lake Gennesaret": Delacroix returns to this subject several times, using the contrast between central sleep and general panic to make light a true spiritual compass. Dated around 1853, "Christ on Lake Gennesaret": Delacroix returns to this subject several times, using the contrast between central sleep and general panic to make light a true spiritual compass. Dated around 1853, "Christ on Lake Gennesaret" is kept at the Portland Art Museum and measures 46 x 54 cm. For "Christ on Lake Gennesaret" by Eugène Delacroix, the eye is kept at the Portland Art Museum and measures 46 x 54 cm. For "Christ on Lake Gennesaret" by Eugène Delacroix, the eye finds a precise reason to slow down: a line, a bank, a profile or contrast which gives the painting its little authority. In "Christ on Lake Gennesaret", the religious or monumental subject becomes a physical experience of light, fall, elevation and space, far from a simply tidy pious image. In "Christ on Lake Gennesaret", Delacroix leaves the decisions of the brush visible, which gives the painting a life that the impeccable finish would probably have stifled.
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#19
The sinking of Don Juan
For "The Shipwreck of Don Juan": In Byron's episode, the survivors of the shipwreck draw lots for the one who will be sacrificed to feed others; the rhythm usefully delays the first reading. For this version of "The Shipwreck of Don Juan": The sea seems almost calm, but the boat overloaded, the looks and the gestures tightened make a decision more violent than the storm weigh on the scene. "The sinking of Don Juan" is dated 1840 and kept at the Louvre Museum, Paris; it measures 135 x 196 cm. For "The Shipwreck of Don Juan" is dated 1840 and kept at the Louvre Museum, Paris; it measures 135 x 196 cm. For "The Shipwreck of Don Juan" is dated 1840 and kept at the Louvre Museum, Paris; it measures 135 x 196 cm. For "The Shipwreck of Don Juan" is dated 1840 and kept at the Louvre Museum, Paris; it measures 135 x 196 cm. For "The Shipwreck of Don Juan" is dated 1840 and kept at the Louvre Museum, Paris; it measures 135 x 196 cm. For "The Shipwreck of Don Juan" is dated 1840 and kept at the Louvre Museum, Paris; it measures 135 x 196 cm. For "The Shipwreck of Don Juan" is dated 1840 and kept at the Louvre Museum together. For "The Shipwreck of Don Juan", literature provides a situation and not instructions for use; Delacroix condenses the text until the gesture and color can speak again. With "The Shipwreck of Don Juan", Delacroix reminds us that a painting can tell a lot without resembling an illustrated instruction.
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#20
Fight of the Giaour and the pasha
For "Combat of the Giaour and the Pasha": Two horsemen compete in a subject taken from Byron's Giaour; the framing usefully delays the first reading. For this version of "Combat of the Giaour and the Pasha": Prancing horses, weapons and fabrics form a knot of movement where the adversaries become almost inseparable, as if the duel had decided to draw its own diagonal. Dated 1826, "Combat du Giaour et du pasha" is kept at the Art Institute of Chicago and measures 60 x 73 cm. For "Combat du Giaour et du pasha" by Eugène Delacroix, the balance between observation and memory remains decisive; Eugène Delacroix adjusts the distance until presence and memory in the same surface. For "Combat of the Giaour and the Pasha", literature provides a situation and not instructions for use; Delacroix condenses the text until gesture and color can speak again. Color gives "Combat of the Giaour and the Pasha" its own voice, a voice capable of speaking loudly without transforming each passage into speech.
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#21
Hamlet and Horatio at the cemetery
For "Hamlet and Horatio at the cemetery": Hamlet and Horatio discover Yorick's skull in the cemetery; the surface usefully delays the first reading. For this version of "Hamlet and Horatio at the cemetery": Delacroix retains meditation rather than the macabre effect: the gestures, the open earth and the low sky transform Shakespeare's famous scene into a visual conversation with death. Today kept at the Louvre Museum, Paris, "Hamlet and Horatio at the cemetery" is dated 1839 and measures 81 x 65 cm. For "Hamlet and Horatio at the cemetery" is dated 1839 and measures 81 x 65 cm. For "Hamlet and Horatio at the cemetery" by Eugène Delacroix, the gaze finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. For "Hamlet and Horatio at the cemetery", literature provides a situation and not instructions for use; Delacroix condenses the text until gesture and color can speak again. In "Hamlet and Horatio at the Cemetery", Delacroix leaves the brush's decisions visible, which gives the painting a life that the impeccable finish would probably have stifled.
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#22
The Death of Ophelia
For "The Death of Ophelia": Ophelia floats among the branches and flowers as her body tilts towards the water; the contrast usefully delays the first reading. For this version of "The Death of Ophelia": Delacroix takes up this scene from Shakespeare several times, suspending the heroine between landscape, drama and beauty with a delicacy that the current does not share. In "The Death of Ophelia", the work is dated 1838; it is kept at the Neue Pinakothek, Munich; it measures 38 x 46 cm. For "The Death of Ophelia" by Eugène Delacroix, on the scale of the image, this singularity counts a lot: it avoids the interchangeable motif effect, this great illness of looks too in a hurry. For "The Death of Ophelia", literature provides a situation and not instructions for use; Delacroix condenses the text until the gesture and color can speak again. With "The Death of Ophelia", Delacroix reminds us that a painting can tell a lot without resembling an illustrated instruction.
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#23
Arabian horses fighting in a stable
For "Arab horses fighting in a stable": Two horses bite and hit each other in the tight space of a stable; the motif usefully delays the first reading. For this version of "Arab horses fighting in a stable": The light and dark dresses, the opposite necklines and the agitated straw make combat a study of anatomy in motion, without a referee and with very little respect for the furniture. Now kept at the Musée d'Orsay, "Arab horses fighting in a stable" is dated 1860 and measures 65.5 x 81 cm. For "Arab horses fighting in a stable" by Eugène Delacroix, the eye finds a precise reason to slow down: a line, a shore, a profile or a contrast which gives the painting its little authority. In "Arab Horses Fighting in a Stable", the memory of the North African trip mixes with the reconstruction of a workshop; the pictorial brilliance remains linked to the orientalist gaze and the colonial context of the 19th century. Delacroix gives "Arab Horses Fighting in a Stable" enough air to breathe and enough tension so that no one falls asleep during the visit.
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#24
Tiger playing with a turtle
For "Tiger playing with a turtle": A young tiger examines a turtle in an encounter that is more curious than fierce; the composition usefully delays the first reading. For this version of "Tiger playing with a turtle": The difference between the striped flexibility of the feline and the compact shell allows Delacroix to confront two forms of defense, one mobile, the other closed like a small safe. "Tiger playing with a turtle" is dated 1862; it measures 45 x 62 cm; it is kept at the Private CollectionSale 2018. For "Tiger playing with a turtle" is dated 1862; it measures 45 x 62 cm; it is kept at the Private CollectionSale 2018. For "Tiger playing with a turtle" is dated 1862; it measures 45 x 62 cm; it is kept at the Private CollectionSale 2018. For "Tiger playing with a turtle" by Eugène Delacroix, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. With "Tiger playing with a turtle", the animal serves to understand the energy of the body: supports, twists, weight and speed give the movement a more solid logic than just the spectacular one. The pleasure of "Tiger playing with a turtle" comes from this continuous circulation between detail, together and emotion, without a checkpoint in the middle of the painting.
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#25
Apollo victorious over the serpent Python
For "Apollo victorious over the serpent Python": In the center of the Apollo gallery in the Louvre, the sun god defeats Python and repels dark forces; the line maintains a clear decorative tension there. For this version of "Apollo victorious over the serpent Python": The ceiling brings together body, clouds, light and color in a spectacular ascent; even mythology seems to have been ordered to look upwards. In "Apollo victorious over the serpent Python", the work is dated 1850-1851; in "Apollo victorious over the serpent Python", the work is dated 1850-1851; it is kept in the Gallery of Apollo, Louvre Museum, Paris; it measures 62 x 87 cm. For "Apollo victorious over the serpent Python" by Eugène Delacroix, the dosage between observation and memory remains decisive; Eugène Delacroix adjusts the distance to the point of maintaining presence and memory in the same surface. In "Apollo victorious over the serpent Python", the religious or monumental subject becomes a physical experience of light, fall, elevation and space, far from a simply tidy pious image. "Apollo victorious over the serpent Python" retains this rare quality: a spectacular image that becomes more precise, and no longer empty, when viewed for a long time.
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#26
Heliodorus driven out of the temple
For "Heliodorus Chased Out of the Temple": Heliodorus is knocked down and driven out of the Temple by celestial horsemen; color maintains a clear decorative tension there. For this version of "Heliodorus Chased Out of the Temple": In the chapel of Saint-Sulpice, Delacroix uses architecture, shortcuts and fleeing groups to bring the violence of the story into the visitor's real space. In "Heliodorus Chased Out of the Temple", the work is dated 1854-1861; it is kept at the Chapelle des Saints-AngesÉglise Saint-Sulpice in Paris; it measures 751 x 485 cm. For "Heliodorus chased out of the temple", the work is dated 1854-1861; it is kept at the Chapelle des Saints-AngesÉglise Saint-Sulpice in Paris; it measures 751 x 485 cm. For "Heliodorus chased out of the temple" in Saint-Sulpice Church; it measures 751 x 485 cm. For "Heliodorus chased out of the temple" in Saint-Sulpice Church; it measures 1854-1861; it is kept at the Chapelle des Saints-AngesÉglise Saint-Sulpice in Paris; it measures 1854-1861; it is kept at the Chapelle des Saints-AngesÉglise Saint-Sul a profile or contrast that gives the painting its little authority. In "Heliodorus Chased from the Temple", the religious or monumental subject becomes a physical experience of light, fall, elevation and space, far from a simply tidy pious image. The pleasure of "Heliodorus chased from the temple" comes from this continuous circulation between detail, ensemble and emotion, without a checkpoint in the middle of the painting.
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#27
Saint Michael defeats the devil
For "Saint Michael defeats the devil": Saint Michael dives on the demon into a sky of wings, light and unbalanced bodies; the rhythm maintains a clear decorative tension there. For this version of "Saint Michael defeats the devil": Placed on the ceiling of the chapel of the Saints-Anges, the scene organizes the fall and the elevation with an efficiency which makes the celestial staircase perfectly superfluous. In "Saint Michel conquers the devil", the work is dated 1861; it is kept at the chapel of the Saints-Anges, Saint-Sulpice church, Paris. For "Saint Michel conquers the devil", the work is dated 1861; it is kept at the chapel of the Saints-Anges, Saint-Sulpice church, Paris. For "Saint Michel conquers the devil", the work is dated 1861; it is kept at the chapel of the Saints-Anges, Saint-Sulpice church, Paris. For "Saint Michel conquers the devil", the work is dated 1861; it is kept at the chapel of the Saints-Anges, Saint-Sulpice church, Paris. For "Saint Michel conquers the devil" by Eugène Delacroix, on the scale of the image, this singularity counts a lot: it avoids the motif effect interchangeable, this great disease of too eager glances. In "Saint Michael conquers the devil", the religious or monumental subject becomes a physical experience of light, fall, elevation and space, far from a simply tidy pious image. With "Saint Michael conquers the devil", Delacroix reminds us that a painting can tell a lot without resembling an illustrated instruction.
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#28
Still life with lobster
For "Lobster Still Life": Lobster, game, fish, weapons and hunting objects accumulate in a still life of almost combative abundance; the framing maintains a clear decorative tension there. For this version of "Lobster Still Life": Delacroix applies the same energy to the immobile world as to his story scenes: nothing moves, but no one really seems to be at rest. "Lobster still life" is dated 1826-1827 and kept at the Louvre Museum, Paris; it measures 80.5 x 106.5 cm. For "Lobster still life" is dated 1826-1827 and kept at the Louvre Museum, Paris; it measures 80.5 x 106.5 cm. For "Lobster still life" is dated 1826-1827 and kept at the Louvre Museum, Paris; it measures 80.5 x 106.5 cm. For "Lobster still life" is dated 1826-1827 and kept at the Louvre Museum, Paris; it measures 80.5 x 106.5 cm. For "Lobster still life" is dated 1826-1827 and kept at the Louvre Museum, Paris; it measures 80.5 x 106.5 cm. For "Lobster still life" is dated 1826-1827 and kept at the Louvre Museum, Paris; it measures 80.5 x together. "Lobster still life" reveals the colorist outside of the grand stories: air, material and tonal relationships are enough to maintain a tension that the calm motif does not seek to conceal. The painting avoids the flat anecdote because each accent of "Lobster still life" contributes to a truly pictorial tension.
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#29
The Sea seen from the heights of Dieppe
For "The Sea seen from the heights of Dieppe": From the cliffs of Dieppe, Delacroix lets the sea, the sky and the coast respond to each other in large touches; the surface maintains a clear decorative tension there. For this version of "The Sea seen from the heights of Dieppe": The late landscape shows how his work of color can suggest air and distance without transforming each wave into a detailed form. "The Sea seen from the heights of Dieppe" is dated 1852-1854 and kept at the Louvre Museum; it measures 36 x 52 cm. For "The Sea seen from the heights of Dieppe" is dated 1852-1854 and kept at the Louvre Museum; it measures 36 x 52 cm. For "The Sea seen from the heights of Dieppe" is dated 1852-1854 and kept at the Louvre Museum; it measures 36 x 52 cm. For "The Sea seen from the heights of Dieppe" is dated 1852-1854 and kept at the Louvre Museum; it measures 36 x 52 cm. For "The Sea seen from the heights of Dieppe" by Eugène Delacroix, the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. "The Sea seen from the heights of Dieppe" reveals the colorist outside of the grand stories: air, material and tonal relationships are enough to maintain a tension that the calm motif does not seek to conceal. "The Sea seen from the heights of Dieppe" shows why Delacroix influences modern colorists: emotion is not added to the subject, it is constructed in matter.
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#30
Louis Auguste Schwiter
For "Louis-Auguste Schwiter": The young painter Louis-Auguste Schwiter stands tall in a dark landscape, dressed in English fashion; the contrast maintains a clear decorative tension. For this version of "Louis-Auguste Schwiter": Delacroix's first large full-length portrait, the canvas combines elegance, melancholy and end-of-day light; Degas would later buy it for his collection. In "Louis-Auguste Schwiter", the work is dated 1826-1830; it is kept at the National Gallery, London; it measures 217.8 x 143.5 cm. For "Louis-Auguste Schwiter", the work is dated 1826-1830; it is kept at the National Gallery, London; it measures 217.8 x 143.5 cm. For "Louis-Auguste Schwiter" by Eugène Delacroix, the eye measures 217.8 x 143.5 cm. For "Louis-Auguste Schwiter", the work is dated 1826-1830; it is kept at the National Gallery, London; it measures 217.8 x 143.5 cm. For "Louis-Auguste Schwiter" by Eugène Delacroix, the eye measures 217.8 x 143.5 cm. For "Louis-Auguste Schwiter", the work is dated 1826- contrast which gives the painting its little authority. The "Louis-Auguste Schwiter" portrait shifts the intensity towards the face, pose and light; the model does not move much, but the presence remains far from immobile. In a reproduction, "Louis-Auguste Schwiter" above all retains its color relationships and its rhythm, two qualities which do not ask permission from the frame.
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#31
Frédéric Chopin
For "Frédéric Chopin": Chopin's portrait comes from a larger composition that brought together the musician and George Sand; the motif maintains a clear decorative tension there. For this version of "Frédéric Chopin": The inclined face, the hair and the concentrated gaze give the pianist an inner intensity where the sound seems to have simply forgotten to be audible. In "Frédéric Chopin", the work is dated 1838; it is kept at the Louvre Museum, Paris; it measures 46 x 38 cm. For "Frédéric Chopin", the work is dated 1838; it is kept at the Louvre Museum, Paris; it measures 46 x 38 cm. For "Frédéric Chopin", the work is dated 1838; it is kept at the Louvre Museum, Paris; it measures 46 x 38 cm. For "Frédéric Chopin", the work is dated 1838; it is kept at the Louvre Museum, Paris; it measures 46 x 38 cm. For "Frédéric Chopin", the work is dated 1838; it is kept at the Louvre Museum, Paris; it measures 46 x 38 cm. For "Frédéric Chopin", the work is dated 1838; it is kept at the Louvre Museum, Paris; it measures 46 x 38 cm. For "Frédéric Chopin" shifts the intensity towards the face, pose and light; the model does not move much, but the presence remains far from immobile. The pleasure of "Frédéric Chopin" comes from this continuous circulation between detail, together and emotion, without a checkpoint in the middle of the painting.
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#32
George Sand
For "George Sand": The portrait of George Sand is the complementary fragment to that of Chopin; the composition maintains a clear decorative tension. For this version of "George Sand": The slightly turned head, the attentive gaze and the warm tones make the intelligence of the model perceptible without enclosing it in the accessories expected from the writer's portrait. "George Sand" is dated 1838 and kept at the Ordrupgaard, Charlottenlund; it measures 78 x 56.5 cm. For "George Sand" by Eugène Delacroix, the gaze is dated 1838 and kept at the Ordrupgaard, Charlottenlund; it measures 78 x 56.5 cm. For "George Sand" by Eugène Delacroix, the gaze finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. The portrait "George Sand" moves intensity towards the face, pose and light; the model does not move much, but the presence remains far from immobile. In a reproduction, "George Sand" above all retains its color relationships and its rhythm, two qualities which do not ask permission from the frame.
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#33
An Arab saddling his horse
"An Arab saddling his horse" organizes tension into colored masses; the light does not just illuminate, it clearly chooses its side; the line organizes the details without stifling them. "An Arab saddling his horse" is dated 1855 and kept at the Hermitage Museum, Saint Petersburg; it measures 56 x 47 cm. For "An Arab Saddling His Horse" by Eugène Delacroix, the balance between observation and memory remains decisive; Eugène Delacroix adjusts the distance until presence and memory are held in the same surface. In "An Arab Saddling His Horse" by Eugène Delacroix, the balance between observation and memory remains decisive; Eugène Delacroix adjusts the distance until presence and memory are held in the same surface. In "An Arab Saddling His Horse" by Eugène Delacroix, the balance between observation and memory remains decisive; Eugène Delacroix adjusts the distance until presence and memory are held in the same surface. In "An Arab Saddling His Horse" by Eugène Delacroix, the balance between observation and memory remains decisive; Eugène Delacroix adjusts the distance until presence and memory are held in the same surface. In "An Arab Saddling His Horse", the memory of the North African trip mixes with the reconstruction of the workshop; the pictorial brilliance remains linked to the gaze orientalist and the colonial context of the 19th century. The painting avoids the flat anecdote because each accent of "An Arab saddling his horse" contributes to a truly pictorial tension.
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#34
The Lion and the Serpent
In "The Lion and the Serpent", gestures and colors work together so that emotion arises from the composition rather than from a simple theatrical effect; color organizes details without stifling them. Dated 1846, "The Lion and the Serpent" is kept at the Walters Art Museum, Baltimore and measures 39 x 59 cm. For "The Lion and the Serpent" by Eugène Delacroix, on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too much-pressed looks. With "The Lion and the Serpent", this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too hurried looks. With "The Lion and the Serpent", this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too hurried looks. With "The Lion and the Serpent", this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too hurried looks. With "The Lion and the Serpent", this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too hurried looks. With "The Lion and the Serpent", this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too hurried looks. With "The Lion and the Serpent", this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too hurried looks. With "The Lion and the Serpent", this singularity counts a lot: spectacular. The scene from "The Lion and the Serpent" remains in memory because it combines precision of motive and freedom of gesture without forcing one to dismiss the other.
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#35
Tiger and snake
"Tiger and snake" constructs its effect through a succession of accents rather than a uniform finish, letting the eye recompose the whole in movement; the rhythm organizes the details without stifling them. "Tiger and snake" is kept at the National Gallery. For "Tiger and Serpent" by Eugène Delacroix, the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. With "Tiger and Serpent", the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. With "Tiger and Serpent", the animal is used to understand the energy of the body: supports, twists and turns, weight and speed give the movement a more solid logic than just the spectacular one. With "Tiger and Serpent", the animal is used to understand the energy of the body: supports, twists and turns, weight and speed give the movement a more solid logic than the spectacular one. With "Tiger and Serpent", the animal is used to understand the energy of the body: supports, twists and turns, weight and speed give the movement a more solid logic than the spectacular one. The subject of "Tiger and Serpent" explains the entry into the painting; its colors explain why we stay there.
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#36
Arab skirmishes in the mountains
"Arabs skirmishes in the mountains" focuses attention on a few decisive relationships of light, gesture and space without cluttering the scene with unnecessary comments; the framing organizes the details without stifling them. "Arabs skirmishes in the mountains" is kept at the National Gallery. For "Arabs skirmishes in the mountains" by Eugène Delacroix, the painting not only seeks to seduce; it affirms a way of seeing where matter, distance and light work together. In "Arabs skirmishes in the mountains" by Eugène Delacroix, the painting not only seeks to seduce; it affirms a way of seeing where matter, distance and light work together. In "Arabs skirmishes in the mountains" by Eugène Delacroix, the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. In "Arabs skirmishes in the mountains", the memory of the North African journey is mixed with the reconstruction of a workshop; the pictorial brilliance remains linked to the orientalist gaze and the context colonial of the 19th century. Color gives "Arab skirmishes in the mountains" its own voice, a voice capable of speaking loudly without transforming each passage into speech.
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#37
Tangier fanatics
In "Fanatics of Tangier", the pictorial material keeps the memory of the gesture and prevents the subject from changing into a reconstruction that is too well ironed; the surface organizes the details without stifling them. Dated 1837, "Fanatiques de Tangier" is kept at the Minneapolis Institute of Art and measures 95.6 x 128.6 cm. For "Fanatiques de Tangier" by Eugène Delacroix, on the scale of the image, this singularity counts a lot: it avoids the interchangeable motif effect, this great disease of too eager glances. In "Fanatiques de Tangier", on the scale of the image, this singularity counts a lot: it avoids the interchangeable motif effect, this great disease of too eager glances. In "Fanatiques de Tangier", on the scale of the image, this singularity counts a lot: it avoids the interchangeable motif effect, this great disease of too eager glances. In "Fanatiques de Tangier", on the scale of the image, this singularity counts a lot: it avoids the interchangeable motif effect, this great disease of too eager glances. In "Fanatiques de Tangier", on the scale of the image, this singularity counts a lot: it avoids the interchangeable motif effect, this great disease of too eager glances. In "Fanatiques de Tangier", the memory of the North African trip mixes with the reconstruction of the workshop; the pictorial brilliance remains linked to the century. The gaze returns to "Fanatics of Tangier" because its balance remains active: stable from afar, much less peaceful as soon as you approach.
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#38
Jewish musicians from Mogador
In "Jewish Musicians of Mogador", the story does not remain wisely behind the painting: it goes through the diagonals, the contrasts and a touch that accelerates the gaze; the contrast organizes the details without stifling them. Today kept at the Louvre Paris Museum, "Jewish Musicians of Mogador" is dated 1847 and measures 46 x 55 cm. For "Jewish Musicians of Mogador" by Eugène Delacroix, on the scale of the image, this singularity counts a lot: it avoids the interchangeable motif effect, this great disease of too much-squeezed glances. In "Jewish Musicians of Mogador", this singularity counts a lot: it avoids the interchangeable motif effect, this great disease of overly hurried glances. In "Jewish Musicians of Mogador", on the scale of the image, this singularity counts a lot: it avoids the interchangeable motif effect, this great disease of overly hurried glances. In "Jewish Musicians of Mogador", on the scale of the image, this singularity counts a lot: it avoids the interchangeable motif effect, this great disease of overly hurried glances. In "Jewish Musicians of Mogador", this singularity counts a lot: it avoids the interchangeable motif effect, this great disease of overly hurried glances. In "Jewish Musicians of Mogador", on the scale of the image, this singularity counts a lot: it avoids the interchangeable motif effect, this great orientalist and the colonial context of the 19th century. "Jewish Musicians of Mogador" thus gains depth as the eye distinguishes the construction behind the momentum.
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#39
Military exercises of Moroccans
"Military exercises of Moroccans" begins with a readable situation, then Delacroix circulates energy between the bodies, colors and edges of the frame; the motif organizes the details without stifling them. Dated 1832, "Military exercises of Moroccans" is kept at the Fabre Museum, Montpellier and measures 59 x 73 cm. For "Military exercises of Moroccans" by Eugène Delacroix, the gaze finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Military Exercises of Moroccans" by Eugène Delacroix, the gaze finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Military Exercises of Moroccans", the memory of the North African trip mixes with the reconstruction of the workshop; the pictorial brilliance remains linked to the gaze orientalist and the colonial context of the 19th century. The strength of "Moroccan Military Exercises" lies in this unity: the story remains understandable, but the painting retains the last word.
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#40
The Farrier
In "Le Maréchal-Ferrant", the pictorial material keeps the memory of the gesture and prevents the subject from changing into a reconstruction that is too well ironed; the composition organizes the details without stifling them. For "Le Maréchal-Ferrant" by Eugène Delacroix, the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. "Le Maréchal-Ferrant" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze. "Le Maréchal-Ferrant" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze. "Le Maréchal-Ferrant" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze. The gaze returns to "Le Maréchal-Ferrant" because its balance remains active: stable from afar, much less peaceful as soon as you approach.
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#41
crossing a ford in Morocco
"passage d'un ford au Maroc" works color as a narrative force: it connects the shots, adjusts the temperature and indicates where the drama is concentrated; the line transforms the ornament into a structure. Today kept at the Musée d'Orsay, Paris, "passage d'un ford au Maroc" is dated 1858 and measures 60 x 74 cm. For "passage d'un ford au Maroc" by Eugène Delacroix, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "passage d'un ford au Maroc" by Eugène Delacroix, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "passage d'un ford au Maroc" by Eugène Delacroix, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "passage d'un ford au Maroc" by Eugène Delacroix, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "passage d'un ford au Maroc" by Eugène Delacroix, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "passage colonial of the 19th century. In "passage of a ford in Morocco", Delacroix leaves the decisions of the brush visible, which gives the painting a life that the impeccable finish would probably have stifled.
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#42
Arab horsemen crossing the Sébou
The first look at "Arab Horsemen crossing the Sébou" encounters a scene, the second discovers the very precise mechanics that make it vibrate; color transforms the ornament into structure. For "Arab Horsemen crossing the Sébou" by Eugène Delacroix, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Arab Horsemen Crossing the Sébou", the memory of the North African journey mixes with the reconstruction of the workshop; the pictorial brilliance remains linked to the orientalist gaze and the colonial context of the 19th century. "Arab horsemen crossing the Sébou" shows why Delacroix influences modern colorists: emotion is not added to the subject, it is constructed in the material.
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#43
The Kaïd, Moroccan chef
The subject of "The Kaïd, Moroccan chef" could become an illustration; Delacroix prevents it from flattening itself by giving the forms their own urgency; rhythm transforms the ornament into structure. "The Kaïd, Moroccan chef" is dated 1837; it measures 98 x 126 cm; it is kept at the Museum of Fine Arts in Nantes. For "The Kaïd, Moroccan chef" by Eugène Delacroix, the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. In "The Kaïd, Moroccan chef" by Eugène Delacroix, the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. In "The Kaïd, Moroccan chef" by Eugène Delacroix, the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. In "The Kaïd, Moroccan chef", the memory of the North African trip mixes with the reconstruction of the workshop; the pictorial brilliance remains linked to the orientalist gaze and the colonial context of the 19th century century. "The Kaïd, Moroccan leader" ultimately maintains a direct presence: the story attracts, then the color catches the eye longer than expected.
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#44
Woman from Algiers with a greyhound
The subject of "Woman of Algiers with a Greyhound" could become an illustration; Delacroix prevents it from flattening itself by giving the forms their own urgency; the framing transforms the ornament into a structure. Today kept at the Museum of Fine Arts, "Woman of Algiers with a greyhound". For "Woman of Algiers with a Greyhound" by Eugène Delacroix, the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. In "Woman of Algiers with a Greyhound", the memory of the North African trip mixes with the reconstruction of the workshop; he affirms a way of seeing where matter, distance and light work together. In "Woman of Algiers with a Greyhound", the memory of the North African trip mixes with the reconstruction of a workshop; the pictorial brilliance remains linked to the orientalist gaze and the colonial context of the 19th century. "Woman of Algiers with a greyhound" finally maintains a direct presence: the story attracts, then the color catches the eye longer than expected.
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#45
Arab actors or jesters
In "Arab Comedians or Jesters", gestures and colors work together so that emotion arises from the composition rather than from a simple theatrical effect; the surface transforms the ornament into structure. "Arab actors or jesters" is dated 1848 and kept at the Museum of Fine Arts in Tours; it measures 96 x 103 cm. For "Arab actors or jesters" by Eugène Delacroix, the balance between observation and memory remains decisive; Eugène Delacroix adjusts the distance until presence and memory are held in the same surface. In "Arab actors or jesters", the memory of the North African trip is mixed with the reconstruction of the workshop; the pictorial brilliance remains linked to the gaze orientalist and the colonial context of the 19th century. The scene of "Arab actors or jesters" remains in memory because it combines precision of motif and freedom of gesture without forcing one to dismiss the other.
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#46
The Assassination of the Bishop of Liège
In "The Assassination of the Bishop of Liège", the contours remain mobile and the colors respond to each other, which gives the painting a less descriptive presence than experienced; the contrast transforms the ornament into structure. "The Assassination of the Bishop of Liège" is dated 1828-1829; it measures 91 x 116 cm; it is kept at the Louvre Museum, Paris. For "The Assassination of the Bishop of Liège" by Eugène Delacroix, the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "The Assassination of the Bishop of Liège" by Eugène Delacroix, the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "The Assassination of the Bishop of Liège" by Eugène Delacroix, the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "The Assassination of the Bishop of Liège" by Eugène Delacroix, the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "The Assassination of the Bishop of Liège" belongs to the great historical laboratory of Delacroix, where the event serves to experience color and space and the responsibility of the gaze. "The Assassination of the Bishop of Liège" thus resists simple illustration and becomes an experience of surface, depth and movement.
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#47
Execution of doge Marino Faliero
In "Execution of the Marino Faliero doge", each figure, animal or object participates in a general circulation which goes well beyond the small square of the subject; the motif transforms the ornament into structure. "Execution of the Marino Faliero doge" is dated 1825-1826 and kept at the Wallace Collection, London; it measures 146 x 114 cm. For "Execution of the Marino Faliero doge" by Eugène Delacroix, the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. "Execution of the Marino Faliero doge" by Eugène Delacroix, the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. "Execution of the Marino Faliero doge" by Eugène Delacroix, the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. "Execution of the Marino Faliero doge" by Eugène Delacroix, the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. "Execution of the Marino Faliero doge" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of look. "Execution of the Marino Faliero doge" retains this rare quality: a spectacular image that becomes more precise, and no longer empty, when viewed for a long time.
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#48
The Two Foscari
"Les Deux Foscari" begins with a readable situation, then Delacroix circulates the energy between the bodies, colors and edges of the frame; the composition transforms the ornament into structure. In "Les Deux Foscari", the work is dated 1855; it is kept at the Condé Museum, Chantilly; it measures 93 x 132 cm. For "Les Deux Foscari" by Eugène Delacroix, the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. "Les Deux Foscari" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze. The strength of " The Two Foscari is due to this unity: the story remains understandable, but the painting retains the last word.
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#49
Last Words of Emperor Marcus Aurelius
"Last Words of Emperor Marcus Aurelius" organizes tension into colored masses; the light does not just illuminate, it clearly chooses its side; the line prevents the image from being simply pretty. "Last Words of Emperor Marcus Aurelius" is dated 1844; it measures 260 x 338 cm; it is kept at the Museum of Fine Arts in Lyon. For "Last Words of Emperor Marcus Aurelius" by Eugène Delacroix, the balance between observation and memory remains decisive; Eugène Delacroix adjusts the distance until presence and memory are held in the same surface. "Last Words of Emperor Marcus Aurelius" by Eugène Delacroix, the balance between observation and memory remains decisive; Eugène Delacroix adjusts the distance until presence and memory are held in the same surface. "Last Words of Emperor Marcus Aurelius" by Eugène Delacroix, the balance between observation and memory remains decisive; Eugène Delacroix adjusts the distance until presence and memory are held in the same surface. "Last Words of Emperor Marcus Aurelius" by Eugène Delacroix, the balance between observation and memory remains decisive; Eugène Delacroix adjusts the distance until presence and memory are held in the same surface. "Last Words of Emperor Marcus Aurelius" by Eugène Delacroix, the balance between observation and memory remains decisive; Eugène Delacroix adjusts the distance until presence and memory are the event serves to experience the color, space and responsibility of the gaze. The painting avoids the flat anecdote because each accent of "Last Words of Emperor Marcus Aurelius" contributes to a truly pictorial tension.
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#50
The Cup in the Madhouse
"The Cup in the Madhouse" advances in opposition: light and dark, rest and movement, colored surface and depth of the story; color prevents the image from being content to be pretty. "The Cup in the Madhouse" is dated 1824 to; it measures 61 x 50 cm; it is kept in the Private Collection. For "The Cup in the Madhouse" by Eugène Delacroix, the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. For "The Cup in the Madhouse" by Eugène Delacroix, the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. For "The Cup in the Madhouse", the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. For "The Cup in the Madhouse", literature provides a situation and not instructions for use; Delacroix condenses the text until gesture and color can speak again. In "The Cup in the Madhouse", energy does not mean disorder; on the contrary, it reveals a composition which knows exactly where it wants to lead the eye.
Discover →Hamlet, Ophelia, Faust, Rebecca, Le Tasse, the battles and the sovereigns make up a particularly agitated library.
#51
Faust and Mephistopheles
"Faust and Mephistopheles" advances by oppositions: light and dark, rest and movement, colored surface and depth of the story; rhythm prevents the image from being content to be pretty. Today kept at the Wallace Collection, London, "Faust and Mephistopheles" is dated 1827-1828 and measures 45 x 38 cm. For "Faust and Mephistopheles" by Eugène Delacroix, the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. For "Faust and Mephistopheles", literature does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. For "Faust and Mephistopheles", literature provides a situation and not instructions for use; Delacroix condenses the text until gesture and color can speak again. In "Faust and Mephistopheles", energy does not mean disorder; on the contrary, it reveals a composition which knows exactly where it wants to lead the eye.
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#52
The Bride of Abydos
"The Bride of Abydos" organizes tension into colored masses; light does not just illuminate, it clearly chooses its side; the framing prevents the image from being content to be pretty. Dated 1843-1849, "The Bride of Abydos" is kept at the Louvre Museum, Paris and measures 35 x 27 cm. For "The Bride of Abydos" by Eugène Delacroix, the balance between observation and memory remains decisive; Eugène Delacroix adjusts the distance until presence and memory are held in the same surface. For "The Bride of Abydos" by Eugène Delacroix, the balance between observation and memory remains decisive; Eugène Delacroix adjusts the distance until presence and memory are held in the same surface. For "The Bride of Abydos" by Eugène Delacroix, the balance between observation and memory remains decisive; Eugène Delacroix adjusts the distance until presence and memory are held in the same surface. For "The Bride of Abydos", literature provides a situation and not instructions for use; Delacroix adjusts the distance until presence and memory are held in the same surface. For "The Bride of Abydos", literature provides a situation and not instructions for use; Delacroix adjusts the distance until presence and memory are held in the same surface. For "The Bride of Abydos", literature provides a situation and not instructions for use; Delacroix condenses the text until the gesture and color can tableau avoids the flat anecdote because each accent of "The Bride of Abydos" contributes to a truly pictorial tension.
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#53
Selim and Zuleika
In "Selim and Zuleïka", the pictorial material keeps the memory of the gesture and prevents the subject from changing into a reconstruction that is too well ironed; the surface prevents the image from being content to be pretty. For "Selim and Zuleïka" by Eugène Delacroix, the balance between observation and memory remains decisive; Eugène Delacroix adjusts the distance until presence and memory are held in the same surface. For "Selim and Zuleïka", literature provides a situation and not instructions for use; Delacroix condenses the text until presence and memory are held in the same surface. For "Selim and Zuleïka", literature provides a situation and not instructions for use; Delacroix condenses the text until the gesture and color can be spoken again. The gaze returns to "Selim and Zuleïka" because its balance remains active: stable from afar, much less peaceful as soon as you approach.
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#54
Hamlet and the Ghost.
"Hamlet and the Specter" works color as a narrative force: it connects the shots, adjusts the temperature and indicates where the drama is concentrated; the contrast prevents the image from simply being pretty. For "Hamlet and the Specter" by Eugène Delacroix, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. For "Hamlet and the Specter", the literature provides a situation and not instructions for use; Delacroix condenses the text until first the pattern, then the masses, then the passages of light which give the painting its true tempo. For "Hamlet and the Specter", literature provides a situation and not instructions for use; Delacroix condenses the text until the gesture and color can resume speech. For "Hamlet and the Specter", literature provides a situation and not instructions for use; Delacroix condenses the text until the gesture and color can resume speech. For "Hamlet and the Specter", literature provides a situation and not instructions for use; Delacroix condenses the text until the gesture and color can resume speech. In "Hamlet and the Specter", literature provides a situation and not instructions for use; Delacroix condenses the text until the gesture and color can resume speech. In "Hamlet and the Specter", literature provides a situation and not instructions for use; Delacroix condenses the text until the gesture and color can resume speech. In "Hamlet and the Spect
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#55
Hamlet and his mother
The rhythm of "Hamlet and his mother" depends as much on the voids as on the figures; Delacroix knows that a well-placed pause can make the movement more nervous; the motif prevents the image from being content to be pretty. In "Hamlet and his mother", the work is kept at the Metropolitan Museum. For "Hamlet and his mother" by Eugène Delacroix, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. For "Hamlet and his mother", literature provides a situation and not instructions for use; Delacroix condenses the text until a line, a bank, a profile or a contrast which gives the painting its little authority. For "Hamlet and his mother", literature provides a situation and not instructions for use; Delacroix condenses the text until the gesture and the color can speak again. For "Hamlet and his mother", literature provides a situation and not instructions for use; Delacroix condenses the text until the gesture and the color can speak again. For "Hamlet and his mother", literature provides a situation and not instructions for use; Delacroix condenses the text until the gesture and the color can speak again. "Hamlet and his mother", literature provides a situation and not instructions for use; Delacroix condenses the text until the gesture and the color can speak again. "Hamlet and his mother", literature provides a situation and not instructions for use; Delacroix cond
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#56
Hamlet and Ophélie
In "Hamlet and Ophélie", the pictorial material keeps the memory of the gesture and prevents the subject from changing into a reconstruction that is too well ironed; the composition prevents the image from simply being pretty. For "Hamlet and Ophélie" by Eugène Delacroix, the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. For "Hamlet and Ophélie", literature provides a situation and not instructions for use; Delacroix condenses the text until the gesture, distance and light work together. For "Hamlet and Ophélie", literature provides a situation and not instructions for use; Delacroix condenses the text until the gesture, distance and color can speak again. The gaze returns to "Hamlet and Ophélie" because his balance remains active: stable from afar, much less calm as soon as we approach.
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#57
Hamlet before the body of Polonius
"Hamlet in front of Polonius' body" reminds us that Delacroix never completely separates imagination and observation: one gives momentum, the other prevents the scene from floating; the line retains a very personal presence there. Dated 1854-1956, "Hamlet in front of Polonius' body" is kept at the Museum of Fine Arts in Reims and measures 59.6 x 48 cm. For "Hamlet in front of Polonius' body" by Eugène Delacroix, the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. For "Hamlet in front of Polonius' body" by Eugène Delacroix, the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. For "Hamlet in front of Polonius' body", the literature provides a situation and not instructions for use; Delacroix condenses it text until gesture and color can speak again. The composition of "Hamlet before the body of Polonius" does not seek to calm the event; it gives it a shape strong enough to stand the test of time.
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#58
The death of Desdemona
The subject of "The Death of Desdemona" could become an illustration; Delacroix prevents it from flattening itself by giving the forms their own urgency; color retains a very personal presence there. For "The Death of Desdemona" by Eugène Delacroix, on the scale of the image, this singularity counts a lot: it avoids the interchangeable motif effect, this great disease of too eager glances. For "The Death of Desdemona", literature provides a situation and not instructions for use; Delacroix condenses the text until the interchangeable motif effect, this great illness of too eager glances. For "The Death of Desdemona", literature provides a situation and not instructions for use; Delacroix condenses the text until the gesture and color can speak again. "The death of Desdemona", literature provides a situation and not instructions for use; Delacroix condenses the text until the gesture and the color can speak again. "The death of Desdemona", literature provides a situation and not instructions for use; Delacroix condenses the text until the gesture and the color can speak again. "The death of Desdemona", literature provides a situation and not instructions for use; Delacroix condenses the text until the gesture and the color can speak again. "The death of Desdemona", literature provides a situation and not instructions for use; Delacroix condenses the text until the gesture and the color can speak again. "The death of Desdemona", literature provides a situation and not instructions for use; Delacroix
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#59
Desdemona cursed by her father
The subject of "Desdemona cursed by her father" could become an illustration; Delacroix prevents it from flattening itself by giving the forms their own urgency; the rhythm retains a very personal presence there. Today kept at the Museum of Fine Arts in Reims, "Desdemona cursed by her father" is dated 1852 uncertain and measures 62 x 51 cm. For "Desdemona cursed by her father" by Eugène Delacroix, on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great illness of too eager glances. For "Desdemona cursed by her father" by Eugène Delacroix, on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great illness of looks too hurried. For "Desdemona cursed by her father", this singularity counts a lot: it avoids the interchangeable pattern effect, this great illness of looks too hurried. For "Desdemona cursed by her father", this singularity counts a lot: it avoids the interchangeable pattern effect, this great illness of looks too hurried. For "Desdemona cursed by her father", this singularity counts a lot: it avoids the interchangeable pattern effect, this great illness of looks too hurried. For "Desdemona cursed by her father", this singularity counts a lot: it avoids the interchangeable pattern effect, this great illness of looks too hurried. For "Desdemona cursed by her father", this singularity counts may gesture and color speak again. "Desdemona cursed by her father" finally maintains a direct presence: the story attracts, then the color catches the eye longer than expected.
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#60
Lady Macbeth walking in her sleep
In "Lady Macbeth walking in her sleep", each figure, animal or object participates in a general circulation which goes well beyond the small square of the subject; the framing maintains a very personal presence there. For "Lady Macbeth walking in her sleep" by Eugène Delacroix, the balance between observation and memory remains decisive; Eugène Delacroix adjusts the distance until presence and memory are held in the same surface. For "Lady Macbeth walking in her sleep", the literature provides a situation and not instructions for use; Delacroix adjusts the distance until presence and memory are held in the same surface. For "Lady Macbeth walking in her sleep", literature provides a situation and not instructions for use; Delacroix condenses the text until the gesture and color can be spoken again. "Lady Macbeth walking in her sleep", literature provides a situation and not instructions for use; Delacroix condenses the text until the gesture and the color can be spoken again. "Lady Macbeth walking in her sleep" retains this rare quality: a spectacular image that becomes more precise, not empty, when viewed for a long time.
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#61
Romeo and Juliet at the Capulet tomb
With "Romeo and Juliet at the Tomb of the Capulets", the painter distributes accents like a conductor who would have replaced the baton with a well-loaded brush; the surface retains a very personal presence there. For "Romeo and Juliet at the Tomb of the Capulets" by Eugène Delacroix, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. For "Romeo and Juliet at the Tomb of the Capulets", literature provides a situation and not instructions for use; Delacroix condenses the text until the gesture and color can speak again. For "Romeo and Juliet at the Tomb of the Capulets", literature provides a situation and not instructions for use; Delacroix condenses the text until the gesture and color can speak again. The pleasure of "Romeo and Juliet at the Tomb of the Capulets" comes from this continuous circulation between detail, together and emotion, without a checkpoint in the middle of the painting.
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#62
Tam O'Shanter pursued by witches
In "Tam O'Shanter pursued by witches", the story does not remain wisely behind the painting: it goes through the diagonals, the contrasts and a touch that accelerates the gaze; the contrast retains a very personal presence. "Tam O'Shanter pursued by witches" is dated 1848; it measures 38 x 46 cm; it is kept at the Kunstmuseum. For "Tam O'Shanter pursued by witches" by Eugène Delacroix, on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too eager looks. "Tam O'Shanter pursued by witches" by Eugène Delacroix, on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too eager looks. "Tam O'Shanter pursued by witches" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze. "Tam O'Shanter pursued by the witches" thus gains depth as the gaze distinguishes the construction behind the momentum.
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#63
Mazeppa on the dying horse
The subject of "Mazeppa on the Dying Horse" could become an illustration; Delacroix prevents it from flattening itself by giving the forms their own urgency; the motif retains a very personal presence there. For "Mazeppa on the Dying Horse" by Eugène Delacroix, the painting not only seeks to seduce; it affirms a way of seeing where matter, distance and light work together. With "Mazeppa on the Dying Horse", the animal serves to understand the energy of the body: supports, twists, weight and speed give the movement a more solid logic than just the spectacular one. "Mazeppa on the dying horse", the animal serves to understand the energy of the body: supports, twists, weight and speed give the movement a more solid logic than the spectacular one. "Mazeppa on the dying horse", the animal serves to understand the energy of the body: supports, twists, weight and speed give the movement a more solid logic than the spectacular one. "Mazeppa on the dying horse", the animal serves to understand the energy of the body: supports, twists, weight and speed give the movement a more solid logic than the spectacular one. "Mazeppa on the dying horse", the animal serves to understand the energy of the body: supports, twists, weight and speed give the movement a more solid logic than the spectacular one. "Mazeppa on the dying horse", the animal serves to understand the energy of the body: supports, twists, weight and speed give the movement a more solid logic than the
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#64
The Prisoner of Chillon
With "The Prisoner of Chillon", the painter distributes accents like a conductor who would have replaced the baton with a well-loaded brush; the composition retains a very personal presence there. For "The Prisoner of Chillon" by Eugène Delacroix, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. For "The Prisoner of Chillon", literature provides a situation and not instructions for use; Delacroix condenses the text until the gesture and the color can speak again. For "The Prisoner of Chillon", literature provides a situation and not instructions for use; Delacroix condenses the text until the gesture and the color can speak again. The pleasure of "The Prisoner of Chillon" comes from this continuous circulation between detail, ensemble and emotion, without a checkpoint in the middle of the painting.
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#65
Don Quixote in his library
In "Don Quixote in his library", each figure, animal or object participates in a general circulation which goes well beyond the small box of the subject; the line leads the gaze there without rigidity. For "Don Quixote in his library" by Eugène Delacroix, the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. For "Don Quixote in his library", literature provides a situation and not instructions for use; Delacroix condenses the text until the gesture and the color can speak again. "Don Quixote in his library", literature provides a situation and not instructions for use; Delacroix condenses the text until the gesture and the color can speak again. "Don Quixote in his library", literature provides a situation and not instructions for use; Delacroix condenses the text until the gesture and the color can speak again. "Don Quixote in his library", literature provides a situation and not instructions for use; Delacroix condenses the text until the gesture and the color can speak again. "Don Quixote in his library", literature provides a situation and not instructions for use; Delacroix condenses the text until the gesture and the color can speak again. "Don Quixote in his library", literature provides a situation and not instructions for use; Delacroix condenses the text until the gesture and the color can speak again. "Don Quixote in his library" retains this rare quality: a spectacular image that becomes more precise, and no longer empty, when viewed for
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#66
Milton dictating his epic poem, "Paradise Lost", to his daughters
"Milton dictating his epic poem to his daughters, "Lost Paradise"" constructs its effect through a succession of accents rather than a uniform finish, letting the eye recompose the whole in movement; color leads the gaze without rigidity. For "Milton dictating to his daughters his epic poem, "Lost Paradise"" by Eugène Delacroix, strength comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. For "Milton dictating to his daughters his epic poem, "Lost Paradise"" by Eugène Delacroix, strength comes less from a stroke of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. For "Milton dictating to his daughters his epic poem, "Lost Paradise"" by Eugène Delacroix, strength comes less from a stroke of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. For "Milton dictating to his daughters his epic poem, "Lost Paradise"", literature provides a situation and not instructions for use; Delacroix condenses the text until gesture and color can speak again. The subject of "Milton dictating his epic poem, "Paradise Lost" to his daughters" explains the entry into the painting; its colors explain why we stay there.
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#67
Michelangelo in his studio
The rhythm of "Michelangelo in his studio" depends as much on voids as on figures; Delacroix knows that a well-placed pause can make the movement more nervous; rhythm leads the gaze without rigidity. "Michelangelo in his studio" is dated around 1850 and kept at the Fabre museum in Montpellier; it measures 41 x 33 cm. For "Michelangelo in his studio" by Eugène Delacroix, the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Michelangelo in his studio", the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Michelangelo in his studio", the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Michelangelo in his studio", the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Michelangelo in his studio", the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Michelangelo in his studio", the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tem simply tidy pious. "Michelangelo in his studio" proves that an ancient scene can remain current when the painter truly organizes what makes it human.
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#68
Cromwell in front of the coffin of Charles I
The rhythm of "Cromwell in front of Charles I's coffin" depends as much on the voids as on the figures; Delacroix knows that a well-placed pause can make the movement more nervous; the framing leads the gaze without rigidity. For "Cromwell in front of the coffin of Charles I" by Eugène Delacroix, strength comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. "Cromwell in front of Charles I's coffin" belongs to Delacroix's great historical laboratory, where the event serves to experience the color, space and responsibility of the gaze. "Cromwell in front of Charles I's coffin" belongs to Delacroix's great historical laboratory, where the event serves to experience the color, space and responsibility of the gaze. "Cromwell in front of Charles I's coffin" belongs to Delacroix's great historical laboratory, where the event serves to experience the color, space and responsibility of the gaze. "Cromwell in front of Charles I's coffin" belongs to Delacroix's great historical laboratory, where the event serves to experience the color, space and responsibility of the gaze. "Cromwell in front of Charles I's coffin" belongs to Delacroix's great historical laboratory, where the event serves to experience the color, space and responsibility of the gaze. "Cromwell in front of Charles I's coffin" belongs to
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#69
Louis of Orléans showing his mistress
The framing of "Louis d'Orléans showing his mistress" remembers the moment when the forces are still balanced, just before the painting seems to start again outside the frame; the surface leads the gaze without rigidity. "Louis d'Orléans showing his mistress" is dated 1825-1826 and kept at the Thyssen-Bornemisza Museum, Madrid; it measures 35 x 25 cm. For "Louis d'Orléans showing his mistress" by Eugène Delacroix, on the scale of the image, this singularity matters a lot: it avoids the interchangeable pattern effect, this great disease of too much-pressed looks. "Louis d'Orléans showing his mistress" belongs to the great historical laboratory of Delacroix, where the event serves to experience color, space and responsibility of the gaze. With "Louis d'Orléans showing his mistress", Delacroix reminds us that a painting can tell a lot without resembling an illustrated instruction.
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#70
Charles VI and Odette de Champdivers
"Charles VI and Odette de Champdivers" works color as a narrative force: it connects the shots, adjusts the temperature and indicates where the drama is concentrated; the contrast leads the gaze without rigidity. For "Charles VI and Odette de Champdivers" by Eugène Delacroix, the gaze finds a precise reason to slow down: a line, an edge, a profile or a contrast which gives the painting its little authority. "Charles VI and Odette de Champdivers" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze. "Charles VI and Odette de Champdivers" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze. "Charles VI and Odette de Champdivers" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze. "Charles VI and Odette de Champdivers" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze. "Charles VI and Odette de Champdivers" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze. "Charles VI and Odette de Champdivers" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space
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#71
Boissy d'Anglas at the Convention
The subject of "Boissy d'Anglas at the Convention" could become an illustration; Delacroix prevents it from flattening itself by giving the forms their own urgency; the motif leads the gaze without rigidity. Dated 1831, "Boissy d'Anglas at the Convention" is kept at the Museum of Fine Arts in Bordeaux and measures 79 x 104 cm. For "Boissy d'Anglas at the Convention" by Eugène Delacroix, on the scale of the image, this singularity counts a lot: it avoids the interchangeable motif effect, this great disease of too much-squeezed glances. "Boissy d'Anglas at the Convention" by Eugène Delacroix, on the scale of the image, this singularity counts a lot: it avoids the interchangeable motif effect, this great disease of too much-squeezed glances. "Boissy d'Anglas at the Convention" belongs to the great historical laboratory of Delacroix, where the event serves to experience color, space and responsibility for the look. "Boissy d'Anglas at the Convention" ultimately maintains a direct presence: the story attracts, then the color catches the eye longer than expected.
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#72
The Battle of Taillebourg, July 21, 1242
The framing of "The Battle of Taillebourg, July 21, 1242" remembers the moment when the forces are still balanced, just before the painting seems to leave the frame; the composition leads the gaze there without rigidity. In "The Battle of Taillebourg, July 21, 1242", the work is dated 1837; it is kept at the Château de VersaillesGalerie des Batailles; it measures 489 x 554 cm. For "The Battle of Taillebourg, July 21, 1242", the work is dated 1837; it is kept at the Château de VersaillesGalerie des Batailles; it measures 489 x 554 cm. For "The Battle of Taillebourg, July 21, 1242" by Eugène Delacroix, the balance between observation and memory remains decisive; Eugène Delacroix adjusts the distance until presence and memory are maintained in the same surface. "The Battle of Taillebourg, July 21, 1242", the work is dated 1837; it is kept at the Château de VersaillesGalerie des Batailles; it measures 489 x 554 cm. For "The Battle of Taillebourg, July 21, 1242" by Eugène Delacroix, the balance between observation delacroix Historical Laboratory, where the event serves to experience color, space and responsibility of the gaze. With "The Battle of Taillebourg, July 21, 1242", Delacroix recalls that a painting can tell a lot without resembling an illustrated instruction.
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#73
Battle of Poitiers
The rhythm of "Battle of Poitiers" depends as much on the voids as on the figures; Delacroix knows that a well-placed pause can make the movement more nervous; the line gives its temperature to the whole. "Battle of Poitiers" is dated 1829-1830; it measures 52 x 65 cm; it is kept at the (Walters Art Museum), Baltimore. For Eugène Delacroix's "Battle of Poitiers", the gaze finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. "Battle of Poitiers" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze. "Battle of Poitiers" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze. "Battle of Poitiers" de Poitiers proves that an ancient scene can remain current when the painter really organizes what makes it human.
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#74
The Battle of Nancy
The subject of "The Battle of Nancy" could become an illustration; Delacroix prevents it from flattening itself by giving the forms their own urgency; color gives its temperature to the whole. Today kept at the Nancy Museum of Fine Arts, "The Battle of Nancy" is dated 1829-1833 and measures 356 x 237 cm. For "The Battle of Nancy" by Eugène Delacroix, the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. "The Battle of Nancy" by Eugène Delacroix, the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. "The Battle of Nancy" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze. "The Battle of Nancy" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze. "The Battle of Nancy" keeps finally a direct presence: the story attracts, then the color catches the eye longer than expected.
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#75
Evening after a battle
In "Evening after a Battle", the story does not remain wisely behind the painting: it goes through the diagonals, the contrasts and a touch that accelerates the gaze; the rhythm gives its temperature to the whole. For "Evening after a battle" by Eugène Delacroix, on the scale of the image, this singularity counts a lot: it avoids the interchangeable motif effect, this great disease of too much-squeezed glances. "Evening after a battle" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze. "Evening after a battle" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze. "Evening after a battle" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze. "Evening after a battle" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze. "Evening after a battle" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze. "Evening after a battle" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze. "Evening after a battle" belongs to the
Discover →Christ, the saints, the wild animals, the horses, Dieppe and Champrosay reveal the late laboratories of color and gesture.
#76
Botzaris surprises the Turkish camp and falls mortally wounded
"Botzaris surprises the Turkish camp and falls mortally wounded" focuses attention on a few decisive reports of light, gesture and space without cluttering the scene with unnecessary comments; the framing gives the whole thing its temperature. For "Botzaris surprises the Turkish camp and falls mortally wounded" by Eugène Delacroix, the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. "Botzaris surprises the Turkish camp and falls mortally wounded" by Eugène Delacroix, the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. "Botzaris surprises the Turkish camp and falls mortally wounded" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze. Color gives to " Botzaris surprises the Turkish camp and falls mortally wounded" his own voice, a voice capable of speaking loudly without transforming each passage into speech.
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#77
Fight between Greeks and Turks
The subject of "Combat between Greeks and Turks" could become an illustration; Delacroix prevents it from flattening itself by giving the forms their own urgency; the surface gives its temperature to the whole. "Combat between Greeks and Turks" is dated 1856 and kept at the National Pinacoteca in Athens; it measures 65.7 x 81.6 cm. For "Combat between Greeks and Turks" by Eugène Delacroix, the balance between observation and memory remains decisive; Eugène Delacroix adjusts the distance until presence and memory are held in the same surface. "Combat between Greeks and Turks" by Eugène Delacroix, the balance between observation and memory remains decisive; Eugène Delacroix adjusts the distance until presence and memory are held in the same surface. "Combat between Greeks and Turks" by Eugène Delacroix, the balance between observation and memory remains decisive; Eugène Delacroix adjusts the distance until presence and memory are held in the same surface. "Combat between Greeks and Turks" by Eugène Delacroix, the balance between observation and memory remains decisive; Eugène Delacroix adjusts the distance until presence and memory are held in the same surface. "Combat between Greeks and Turks" by Eugène Delacroix, the balance between observation and memory remains decisive; Eugène Delacroix adjusts the distance until presence and memory are held in the same surface. "Combat between Greeks and Turks responsibility for the look. "Fight between Greeks and Turks" ultimately retains a direct presence: the story attracts, then the color holds the eye longer than expected.
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#78
Christ on the cross with the holy women
In "Christ on the Cross with the Holy Women", the contours remain mobile and the colors respond to each other, which gives the painting a less descriptive presence than experienced; the contrast gives its temperature to the whole. For "Christ on the Cross with the Holy Women" by Eugène Delacroix, strength comes less from a stroke of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Christ on the Cross with the Holy Women", the religious or monumental subject becomes less of a stroke of brilliance than of a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Christ on the Cross with the Holy Women", the religious or monumental subject becomes less of a stroke of brilliance than of a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Christ on the Cross with the Holy Women", the religious or monumental subject becomes a physical experience of light, fall, elevation and space, far from a simply tidy pious image. "Christ on the Cross with the Holy Women", the religious or monumental subject becomes a physical experience of light, of fall, of elevation and space, far from a simply tidy pious image. "Christ on the Cross with the Holy Women", the religious or monumental subject becomes a physical experience of light, of fall, of elevation and space, far from a simply tidy pious image. "Christ on the Cross with the Holy Women", the religious or monumental subject becomes a physical experience of light, of fall women" thus resists simple illustration and becomes an experience of surface, depth and movement.
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#79
Lamentation (Christ at the tomb)
The framing of "Lamentation (Christ at the Tomb)" retains the moment when the forces are still balanced, just before the painting seems to leave the frame; the motif gives its temperature to the whole. "La Lamentation (Christ at the Tomb)" is dated 1848 and kept at the Museum of Fine Arts (Boston); it measures 163 x 132 cm. For "La Lamentation (Christ at the Tomb)" by Eugène Delacroix, on the scale of the image, this singularity counts a lot: it avoids the interchangeable motif effect, this great illness of too eager glances. In "La Lamentation (Christ at the Tomb)", this singularity counts a lot: it avoids the interchangeable motif effect, this great illness of too eager glances. In "La Lamentation (Christ at the Tomb)", on the scale of the image, this singularity counts a lot: it avoids the interchangeable motif effect, this great illness of too hurried looks. In "La Lamentation (Christ at the Tomb)", this singularity counts a lot: it avoids the interchangeable motif effect, this great illness of too hurried looks. In "La Lamentation (Christ at the Tomb)", this singularity counts a lot: it avoids the interchangeable motif effect, this great illness of too eager glances. In "La Lamentation (Christ at the Tomb elevation and space, far from a simply tidy pious image. With "The Lamentation (Christ at the Tomb)", Delacroix reminds us that a painting can tell a lot without resembling an illustrated instruction.
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#80
Agony in the garden
In "The Agony in the Garden", gestures and colors work together so that emotion arises from the composition rather than from a simple theatrical effect; the composition gives its temperature to the whole. "The agony in the garden" is kept at the Rijksmuseum. For "The agony in the garden" by Eugène Delacroix, the balance between observation and memory remains decisive; Eugène Delacroix adjusts the distance until presence and memory are held in the same surface. "The agony in the garden" by Eugène Delacroix, the balance between observation and memory remains decisive; Eugène Delacroix adjusts the distance until presence and memory are held in the same surface. "The agony in the garden" belongs to the great historical laboratory of Delacroix, where the event serves to test the color, space and responsibility of the gaze. The scene from "The Agony in the Garden" belongs to the great historical laboratory of Delacroix, where the event serves to test the color, space and responsibility of the gaze. The scene from "The Agony in the Garden" remains in memory because it combines precision of motive and freedom of gesture without forcing one to dismiss the other.
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#81
The Good Samaritan
In "The Good Samaritan", each figure, animal or object participates in a general circulation which goes well beyond the small square of the subject; the line usefully delays the first reading. For "The Good Samaritan" by Eugène Delacroix, on the scale of the image, this singularity counts a lot: it avoids the interchangeable motif effect, this great illness of too eager glances. In "The Good Samaritan", the religious or monumental subject becomes a physical experience of light, fall, elevation and space, far from a simply tidy pious image. In "The Good Samaritan", the religious or monumental subject becomes a physical experience of light, fall, elevation and space, far from a simply tidy pious image. In "The Good Samaritan", the religious or monumental subject becomes a physical experience of light, fall, elevation and space, far from a simply tidy pious image. "The Good Samaritan", the religious or monumental subject becomes a physical experience of light, fall, elevation and space, far from a simply tidy pious image. "The Good Samaritan", the religious or monumental subject becomes a physical experience of light, fall, elevation and space, far from a simply tidy pious image. "The Good Samaritan", the religious or monumental subject becomes a physical experience of light, fall, elevation and space, far from a simply tidy pious image. "The Good Samaritan", the religious or monumental subject becomes a physical experience of light, fall, elevation
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#82
Saint Sebastian rescued by the holy women
In "Saint Sebastian rescued by the holy women", the pictorial material keeps the memory of the gesture and prevents the subject from changing into a reconstruction that is too well ironed; color usefully delays the first reading. Dated 1836, "Saint Sebastian rescued by the holy women" is kept at the Saint-Michel Church, Nantua and measures 213 x 278 cm. For "Saint Sebastian rescued by the holy women" by Eugène Delacroix, the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. In "Saint Sebastian rescued by the holy women" by Eugène Delacroix, the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. In "Saint Sebastian rescued by the holy women" by Eugène Delacroix, the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. In "Saint Sebastian rescued by the holy women", the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. In "Saint Sebastian rescued by the holy women", the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. In "Saint Sebastian rescued by the holy women", the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. In " light, fall, elevation and space, far from a simply tidy pious image. The gaze returns to "Saint Sebastian rescued by the holy women" because his balance remains active: stable from afar, much less peaceful as soon as we approach.
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#83
The Education of the Virgin
"The Education of the Virgin" reminds us that Delacroix never completely separates imagination and observation: one gives momentum, the other prevents the scene from floating; the rhythm usefully delays the first reading. "The Education of the Virgin" is dated 1842 and kept at the Eugène-Delacroix National Museum, Paris; it measures 95 x 125 cm. For "The Education of the Virgin" by Eugène Delacroix, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "The Education of the Virgin", the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "The Education of the Virgin", the gaze finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "The Education of the Virgin", the gaze finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "The Education of the Virgin", the gaze finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "The Education of the Virgin", the gaze finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "The Education of the Virgin", the simply tidy pious image. The composition of "The Education of the Virgin" does not seek to calm the event; it gives it a shape strong enough to stand the test of time.
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#84
The Adoration of the Magi
With "The Adoration of the Magi", the painter distributes accents like a conductor who would have replaced the baton with a well-loaded brush; the framing usefully delays the first reading. For "The Adoration of the Magi" by Eugène Delacroix, strength comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "The Adoration of the Magi", the religious or monumental subject becomes less of a burst of brilliance than of a balance: enough structure to guide the eye, enough breathing to let the scene live. In "The Adoration of the Magi", the religious or monumental subject becomes a physical experience of light, fall, elevation and space, far from a simply tidy pious image. In "The Adoration of the Magi", the religious or monumental subject becomes a physical experience of light, fall, elevation and space, far from a simply tidy pious image. The pleasure of "The Adoration of the Magi" comes from this continuous circulation between detail, ensemble and emotion, without a checkpoint in the middle of the painting.
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#85
Annunciation
The first look at "Annunciation" encounters a scene, the second discovers the very precise mechanics that make it vibrate; the surface usefully delays the first reading. "Annunciation" is dated 1841; it measures 312 x 437 cm; it is kept at the Eugène-Delacroix National Museum, Paris. For "Annunciation" by Eugène Delacroix, the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Annunciation", the religious or monumental subject becomes less of a burst of brilliance than of a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Annunciation", the religious or monumental subject becomes less of a burst of brilliance than of a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Annunciation", the religious or monumental subject becomes less of a burst of brilliance than of a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Annunciation", the religious or monumental subject becomes a physical experience of light, fall, elevation and space, far from a simply tidy pious image. "Annunciation" shows why Delacroix influences modern colorists: emotion is not added to the subject, it is constructed in the material.
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#86
The angel Raphael leaving Tobias
In "The Angel Raphael Leaving Tobit", the pictorial material keeps the memory of the gesture and prevents the subject from changing into a reconstruction that is too well ironed; the contrast usefully delays the first reading. In "The angel Raphael leaving Tobie", the work is kept at the Palais des Beaux-Arts in Lille; it measures 36 x 27 cm. For "The angel Raphael leaving Tobie" by Eugène Delacroix, the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. In "The angel Raphael leaving Tobie" by Eugène Delacroix, the painting not only seeks to seduce; it affirms a way of seeing where matter, distance and light work together. In "The angel Raphael leaving Tobie" by Eugène Delacroix, the painting not only seeks to seduce; it affirms a way of seeing where matter, distance and light work together. In "The angel Raphael leaving Tobie", the painting not only seeks to seduce; it affirms a way of seeing where matter, distance and light work together. In "The angel Raphael leaving Tobie", the painting not only seeks to seduce; it affirms a way of seeing where matter, distance and light work together. In "The angel Raphael leaving Tobie", the painting not only seeks to seduce; it affirms a way of seeing where matter, distance and light work together. In "The angel Raphael leaving Tobie", the religious or monumental subject becomes a physical simply tidy. The gaze returns to "The angel Raphael leaving Tobias" because his balance remains active: stable from afar, much less peaceful as soon as we approach.
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#87
Daniel in the lions' den
"Daniel in the Lions' Den" shows a Delacroix attentive to the moment when a situation changes: before, after and present seem to fit in the same key; the motif usefully delays the first reading. For "Daniel in the Lions' Den" by Eugène Delacroix, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Daniel in the Lions' Den", the religious or monumental subject becomes a physical experience of light, of fall, of elevation and of space, far from a simply tidy pious image. In "Daniel in the Lions' Den", the religious or monumental subject becomes a physical experience of light, of fall, of elevation and of space, far from a simply tidy pious image. In "Daniel in the Lions' Den", the religious or monumental subject becomes a physical experience of light, of fall, of elevation and space, far from a simply tidy pious image. Delacroix gives "Daniel in the Lions' Den" enough air to breathe and enough tension so that no one falls asleep during the visit.
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#88
The Resurrection of Lazarus
The framing of "The Resurrection of Lazarus" retains the moment when the forces are still balanced, just before the painting seems to start again outside the frame; the composition usefully delays the first reading. Dated 1850, "The Resurrection of Lazarus" is kept at the Kunstmuseum (Basel) and measures 61 x 50 cm. For "The Resurrection of Lazarus" by Eugène Delacroix, the balance between observation and memory remains decisive; Eugène Delacroix adjusts the distance until presence and memory are held in the same surface. In "The Resurrection of Lazarus", the balance between observation and memory remains decisive; Eugène Delacroix adjusts the distance until presence and memory are held in the same surface. In "The Resurrection of Lazarus", the dosage between observation and memory remains decisive; Eugène Delacroix adjusts the distance until presence and memory are held in the same surface. In "The Resurrection of Lazarus", the religious or monumental subject becomes a physical experience of light, fall, elevation and space, far from a pious image simply tidy. With "The Resurrection of Lazarus", Delacroix reminds us that a painting can tell a lot without resembling an illustrated instruction.
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#89
The Beheading of Saint John the Baptist
"The Takeoff of Saint John the Baptist" constructs its effect through a succession of accents rather than a uniform finish, letting the eye recompose the whole in movement; the line maintains a clear decorative tension there. For "The Takeoff of Saint John the Baptist" by Eugène Delacroix, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "The Takeoff of Saint John the Baptist", the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "The Takeoff of Saint John the Baptist", the religious or monumental subject becomes a physical experience of light, fall, elevation and space, far from a simply tidy pious image. In "The Takeoff of Saint John the Baptist", the religious or monumental subject becomes a physical experience of light, fall, elevation and space, far from a simply tidy pious image. In "The Takeoff of Saint John the Baptist", the religious or monumental subject becomes a physical experience of light, fall, elevation and space, far from a simply tidy pious image. In "The Takeoff of Saint John the Baptist", the religious or monumental subject becomes a physical experience of light, fall, elevation and space, far from a simply tidy pious image. In "The Takeoff of Saint John the Bapt
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#90
Trajan's Justice
In "The Justice of Trajan", the story does not remain wisely behind the painting: it goes through the diagonals, the contrasts and a touch that accelerates the gaze; color maintains a clear decorative tension there. Dated 1840, "The Justice of Trajan" is kept at the Museum of Fine Arts in Rouen and measures 490 x 390 cm. For "The Justice of Trajan" by Eugène Delacroix, on the scale of the image, this singularity counts a lot: it avoids the interchangeable motif effect, this great disease of too much-pressed looks. "Trajan's Justice" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze. "The Trajan's Justice thus gains depth as the gaze distinguishes the construction behind the momentum.
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#91
Autumn
With "Autumn", Delacroix prefers the right intensity to docile detail; the scene remains clear without losing its confusion; the rhythm maintains a clear decorative tension. For "L'Automne" by Eugène Delacroix, the painting not only seeks to seduce; it affirms a way of seeing where matter, distance and light work together. "Autumn" belongs to Delacroix's great historical laboratory, where the event serves to experience color, space and responsibility of the gaze. "Autumn" belongs to Delacroix's great historical laboratory, where the event serves to experience color, space and responsibility of the gaze. "Autumn" belongs to Delacroix's great historical laboratory, where the event serves to experience color, space and responsibility of the gaze. "Autumn" belongs to Delacroix's great historical laboratory, where the event serves to experience color, space and responsibility of the gaze. "Autumn" belongs to Delacroix's great historical laboratory, where the event serves to experience color, space and responsibility of the gaze. "Autumn" belongs to Delacroix's great historical laboratory, where the event serves to experience color, space and responsibility of the gaze. "Autumn" holds together memory, invention and observation; three guests who do not always dine calmly, but produce an excellent conversation here.
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#92
Spring
The first look at "Spring" encounters a scene, the second discovers the very precise mechanics that make it vibrate; the framing maintains a clear decorative tension. For "Le Printemps" by Eugène Delacroix, the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. "Le Printemps" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze. "Le Printemps" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze. "Le Printemps" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze. "Le Printemps" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze. "Le Printemps" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze. "Le Printemps" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze. "Le Printemps" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze
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#93
Summer
"Summer" shows a Delacroix attentive to the moment when a situation changes: before, after and present seem to fit in the same key; the surface maintains a clear decorative tension there. For Eugène Delacroix's "Summer", the gaze finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. "Summer" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze. Delacroix belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze. Delacroix belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze. Delacroix gives "Summer" enough air to breathe and enough tension so that no one falls asleep during the visit.
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#94
Winter
"Winter" advances by oppositions: light and dark, rest and movement, colored surface and depth of the story; the contrast maintains a clear decorative tension. For "Winter" by Eugène Delacroix, the balance between observation and memory remains decisive; Eugène Delacroix adjusts the distance until presence and memory are held in the same surface. "Winter" belongs to Delacroix's great historical laboratory, where the event serves to test the color, space and responsibility of the gaze. In "Winter", energy does not mean disorder; on the contrary, it reveals a composition which knows exactly where it wants to lead the eye.
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#95
The Triumph of Amphitrite
"The Triumph of Amphitrite" advances by oppositions: light and dark, rest and movement, colored surface and depth of the story; the motif maintains a clear decorative tension there. For "The Triumph of Amphitrite" by Eugène Delacroix, the painting not only seeks to seduce; it affirms a way of seeing where matter, distance and light work together. "The Triumph of Amphitrite" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze. In "The Triumph of Amphitrite", energy does not mean disorder; on the contrary, it reveals a composition which knows exactly where it wants to lead the eye.
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#96
The Triumph of Bacchus
The subject of "The Triumph of Bacchus" could become an illustration; Delacroix prevents it from flattening itself by giving the forms their own urgency; the composition maintains a clear decorative tension. For "The Triumph of Bacchus" by Eugène Delacroix, on the scale of the image, this singularity counts a lot: it avoids the interchangeable motif effect, this great disease of too eager glances. "The Triumph of Bacchus" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze. "The Triumph of Bacchus" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze. "The Triumph of Bacchus" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze. "The Triumph of Bacchus" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze. "The Triumph of Bacchus" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze. "The Triumph of Bacchus" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze.
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#97
Orpheus rescuing Eurydice
"Orpheus rescuing Eurydice" organizes tension into colored masses; light does not just illuminate, it clearly chooses its side; the line organizes the details without stifling them. Dated 1862, "Orphée rescuing Eurydice" is kept at the Fabre Museum, Montpellier. For "Orphée rescuing Eurydice" by Eugène Delacroix, the balance between observation and memory remains decisive; Eugène Delacroix adjusts the distance until presence and memory are held in the same surface. "Orphée rescuing Eurydice" by Eugène Delacroix, the balance between observation and memory remains decisive; Eugène Delacroix adjusts the distance until presence and memory are held in the same surface. "Orphée rescuing Eurydice" by Eugène Delacroix, the balance between observation and memory remains decisive; Eugène Delacroix adjusts the distance until presence and memory are held in the same surface. "Orphée rescuing Eurydice" by Eugène Delacroix, the balance between observation and memory remains decisive; Eugène Delacroix adjusts the distance until presence and memory are held in the same surface. "Orphée rescuing Eurydice" by Eugène Delacroix, the balance between observation and memory remains decisive; Eugène Delacroix adjusts the distance until presence and memory are held in the same surface. "Orph because each accent of "Orpheus rescuing Eurydice" contributes to a truly pictorial tension.
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#98
Roger delivering Angélique
"Roger delivering Angélique" constructs its effect through a succession of accents rather than a uniform finish, letting the eye recompose the whole in movement; color organizes details without stifling them. For "Roger delivering Angélique" by Eugène Delacroix, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. "Roger delivering Angélique" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze. The subject of "Roger delivering Angélique" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze. The subject of "Roger delivering Angélique" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze. The subject of "Roger delivering Angélique" explains the entry into the painting; its colors explain why we stay there.
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#99
Perseus and Andromeda
"Persaeus and Andromeda" reminds us that Delacroix never completely separates imagination and observation: one gives momentum, the other prevents the scene from floating; the rhythm organizes the details without stifling them. For "Persaeus and Andromeda" by Eugène Delacroix, the gaze finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. "Persaeus and Andromeda" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze. "Persaeus and Andromeda" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze. "Persaeus and Andromeda" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze. "Persaeus and Andromeda" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze. "Persaeus and Andromeda" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze. "Persaeus and Andromeda" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space
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#100
Cleopatra and the Peasant
With "Cleopatra and the Peasant", Delacroix prefers the right intensity to docile detail; the scene remains clear without losing its confusion; the framing organizes the details without stifling them. For "Cleopatra and the Peasant" by Eugène Delacroix, the balance between observation and memory remains decisive; Eugène Delacroix adjusts the distance until presence and memory are held in the same surface. "Cleopatra and the Peasant" belongs to Delacroix's great historical laboratory, where the event serves to hold presence and memory in the same surface. "Cleopatra and the Peasant" belongs to Delacroix's great historical laboratory, where the event serves to bring presence and memory into the same surface. "Cleopatra and the Peasant" belongs to Delacroix's great historical laboratory, where the event serves to bring presence and memory into the same surface. "Cleopatra and the Peasant" belongs to Delacroix's great historical laboratory, where the event serves to demonstrate the color, space and responsibility of the gaze. "Cleopatra and the Peasant" belongs to Delacroix's great historical laboratory, where the event serves to test the color, space and responsibility of the gaze. "Cleopatra and the Peasant" belongs to Delacroix's great historical laboratory, where the event serves to test the color, space and responsibility of the gaze. "C
Discover →What the ranking reveals
One hundred paintings, three ways to transform a subject into an experience
The journey shows that Delacroix never illustrates for long. He takes a story, a memory or a moving body, then redistributes the energy throughout the surface. The scene tells something; color tells how you should feel it, without a form to sign at the exit.
The diagonal sets the story in motion
Bodies, horses, weapons, trees and flags direct the eye and give the action an immediately sensitive direction.
Color builds space
Complementary tones bring together, separate or illuminate the planes even before the contours have finished their sentence.
Memory intensifies the visible
Morocco, the texts and the old masters are recomposed in the workshop to preserve what Delacroix considers the most striking.
Chronology between living room and ceiling
Five dates to follow Delacroix
Ferdinand-Victor-Eugène Delacroix was born on April 26 into a family linked to administration and diplomacy.
Dante and Virgil, known as Dante's Boat, imposed an ambitious young painter who already refused academic calm.
Liberty Leading the People transforms the July Days into a contemporary allegory that has become universal.
The diplomatic mission to Tangier and Meknes, followed by a visit to Algiers, nourishes thirty years of painting and memory.
After a long and difficult project, Delacroix completed the chapel of the Saints-Anges, the peak of his late monumental work.
Delacroix in depth
Delacroix: making color a dramatic force
Delacroix won at the Salon of 1822 with Dante's Boat, then quickly expanded his territory. Scenes from the massacres of Scio watches a contemporary tragedy without a central hero, The Death of Sardanapalus pushes disorder to the point of vertigo and Liberty Leading the People mixes allegory, barricade and current events. French romanticism finds there its great colorist, but also a painter who knows that a composition can move forward like a crowd.
Literature provides him with illustrations less than detonators. Byron, Shakespeare, Goethe, Walter Scott, Dante, Chateaubriand and Le Tasse offer him shipwrecks, passions, struggles and worried consciences. Hamlet, Ophélie, Rebecca, the Giaour, Don Juan or the Natchez become painting problems: how to make fear, speed or fate felt even before the viewer has reread the summary of the book?
The 1832 trip to Morocco, then the passage through Algiers, lastingly transformed his repertoire. Women of Algiers in their apartment, The Jewish Wedding in Morocco, The Sultan of Morocco, the horsemen and the scenes of Tangier combine observation, memory and workshop reconstruction. Their colorful brilliance is major; their place in the orientalist gaze and the French colonial context must also remain visible.
The large settings reveal another scale. Apollo victorious over the serpent Python at the Louvre, Heliodorus driven out of the temple, Saint Michael defeating the demon and Jacob's Struggle with the Angel at Saint-Sulpice show Delacroix struggling with walls that have no intention of settling for a small discreet bouquet. He organizes forests, bodies, diagonals and bursts of color so that the architecture itself participates in the drama.
Animals, portraits, flowers and landscapes complete this theater. Lions, tigers and horses allow us to study the energy of the body; Chopin, George Sand, Louis-Auguste Schwiter or the self-portrait in the green vest give a quieter tension. The landscapes of Dieppe, Champrosay and Tangier, long less famous, announce through their touch and their tonal relationships the attention that the Impressionists will pay to it.
The route begins with the masterpieces that built its reputation, then follows Morocco, literary stories, battles, religious painting, settings, animals, landscapes and portraits. Delacroix painted more than eight hundred paintings: one hundred places are enough to tell a story, but not to park four identical versions of the same lion hunt in front of the entrance.
Four reading keys
Watch the drama without losing the paint
Diagonal, color, source and memory help us understand why Delacroix's paintings remain in motion. The subject catches the eye, but the construction explains why it does not come out immediately.
Track strengths
A line of bodies, horses or light directs the gaze and makes the action sensitive before any explanation.
Compare agreements
Warm and cold tones, complementary and mixed touches give volume, distance and emotional intensity.
Find the text or event
Byron, Shakespeare, Dante, Walter Scott, the Bible and political news provide situations that painting transforms.
Distinguish between observation and reconstruction
Moroccan notebooks, landscapes and old masters are filtered by time before returning to the workshop.
Atlas of verifiable dramas
Continue after the last diagonal
The Louvre, the Eugène-Delacroix National Museum, the Metropolitan Museum, the National Gallery, the Musée d'Orsay, the NGA, Wikipedia and Wikidata allow you to check titles, dates, dimensions, collections and context. The painting may remain agitated; references have an interest in standing up straight.
In Alpha Reproduction
01Eugene DelacroixThe masters of Eugène Delacroix02Eugene DelacroixCollections & guides03All reproductions of paintingsCollections & guidesMuseums and references
01Wikipedia - art and context for Eugène DelacroixMuseum & reference02Wikidata - visual arts for Eugène DelacroixMuseum & reference03Wikimedia Commons - art for Eugène DelacroixMuseum & reference04The Met - Heilbrunn Timeline of Art HistoryMuseum & reference05Tate - Art termsMuseum & reference06Musée d'Orsay - collectionsMuseum & referenceFrequently asked questions
Delacroix without fog of battle
The essential answers to understanding the Salons, Morocco, Saint-Sulpice, literature, animals and the lasting influence of its color.
What is Delacroix's most famous painting?
Liberty Leading the People is his most famous image. It represents the revolutionary days of July 1830, not the French Revolution of 1789.
Why is Delacroix considered romantic?
Because it favors personal expression, color, movement, contemporary and literary subjects, as well as crisis situations rather than academic stability.
Why are Scenes from the Scio Massacres important?
The painting presents the Greek victims of a contemporary massacre without a victorious hero. Its large format, its open composition and its political subject mark the Salon of 1824.
What role does Morocco play in his work?
The trip of 1832 nourished his notebooks and his painting for thirty years. Delacroix found costumes, horses, ceremonies and colors there, which he then rebuilt from his workshop.
What works by Delacroix to see in Saint-Sulpice?
The chapel of the Holy Angels brings together Jacob's Struggle with the Angel, Heliodorus driven from the temple and Saint Michael defeating the demon, completed after a long construction site.
Did Delacroix paint animals a lot?
Yes. Lions, tigers, horses and snakes allow him to study movement, anatomy and violence. His visits to the menagerie of the Jardin des Plantes nourish this work.
Why does its color influence moderns?
Delacroix juxtaposes and interweaves mutually reinforcing tones. This expressive conception of color is of particular interest to Renoir, Van Gogh, Signac, Cézanne and Matisse.
Which reproduction of Delacroix to choose?
Liberty or Sardanapalus give a monumental presence; Women of Algiers brings a more interior harmony; a landscape, portrait or animal scene is better suited to a less theatrical atmosphere.
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