Delacroix, Eugène

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how one great artist thelt and fought (sic)
Greatest Testament
An intimate glimpse into the mind and times of Delacroix

Journal of Delacroix (Arts & Letters)
Hubert Wellington
Manufacturer: Phaidon Press
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Binding: Paperback

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ASIN: 0714833592

Customer Reviews:

how one great artist thelt and fought (sic).......2003-05-07

In order to get something worthwhile out of reading Delacroix's Journals, the reader should know something about Delacroix other than that he was a 19th century painter of the first rank. Ingres found Delacroix's work execrable and cast aspersion upon him by saying that: Delacroix was an apostle of ugliness who had come to 'end' painting as the French and the Europeans in general knew it. Today, Delacroix's work occupies a huge chunk of the Louvre's halls -- outstripping Ingre's portion. The fact that Delacroix in fact did fulfill Ingres' curse/prophecy may say something about the nature of death/life and rebirth/resurrection in art.
I read this wonderful book over ten years ago and so powerful was the impact of Delacroix's insights into the nature, perception, creational origin, and fate of art that much of it still remain with me. Delacroix in his day was not revered as he is today. He did not have people knocking down his doors to see his work, nor did he always have it easy trying to show it publicly. One day, after a bad review, to console himself, he wrote that (I paraphase) a great work of art in history is like a plank of wood held under water -- it is kept down when the powers-that-be hold it down. But that power ('political agenda' in contempo art-babble) does not last forever and must sooner or later let go of the plank whose nature is to float to the surface for all the world to see. He seem to have had the same intuition about the nature and fuction of art as the Greeks did: that art is light, that which shines of its own, and by which power that which 'sheds lights' and 'explains' what is around it rather than something that needs to be explained.
He never married but was looked after by a doting housekeeper. Not exactly a recluse, but most certainly a man of breeding descended of a noble stock who was careful about the company he kept, Delacroix spent much time, as artists and thinkers do, with his own thoughts and feelings, and expressing them. He was famous for his cordiality and urbanity, and among his friends in town (Paris) were Chopin, Georges Sand, and other individuals who would leave a mark (or in some cases, a mountain) in the arts one way or another. In other words, Delacroix was an agreeable man and as sociable as any thoughtful man would be but no more. Delacroix's social life is visible in these pages as is the Parisian milieu in which he lived and worked.
But the really great thing about Delacroix's Journals is that one gets to see something about how a great artist sees and feels things. Although he is over a century removed from us, his work and thoughts serve as a reminder that art is not always about anything socially or politically itchy; that art is just art; and that art is not something one needs to get hysterical about or merely a medium to carry an agenda. The fact that, historically, art was always commissioned by the aristocracy, and executed by those who were aristocratic in feeling and sensibility is one that is largely ignored today. Read this and see the significance of this fact, and why the term democratic art is ultimately an ugly oxymoron. Those who would champion the 'demos' sometimes think too highly of art and the need for "the people"'s participation in it.
In my humble opinion, if Delacroix were alive today, I think he would have loved Rauschenberg's and Jean-Michel Basquiat's work and their strong democratic origins but he would detest the democratization of art as such as found in Van Gogh umbrellas and calendars so loved by those who "love" art. He wouldn't go to Mozart Festivals either.

Greatest Testament.......2001-04-17

Critic Roger Kimball called Delacroix's Journal "perhaps the greatest literary testament any painter has left." See Roger Kimball, "Delacroix Reconsidered," The New Criterion, Sept. 1998, p. 10.

An intimate glimpse into the mind and times of Delacroix.......2000-12-29

This journal is a surprisingly accessible account of Delacroix's life. It has been well edited and covers a time frame spanning his early years, then his later life. Within these pages he includes his observations of Paris and the French countryside in the mid-nineteenth century, the people he knew like Chopin and Georges Sand, as well as his passionate reviews of works of art that influenced him. He offers sublime meditations on the nature of creativity and ruminates over ideas he has for new works. His outpourings capture the essence of the romantic movement. As an artist, even though separated from him by over a century, I found him to be a kindred spririt.

Eugene Delacroix. Die Dantebarke. Idealismus und Modernität. ( Fischer kunststück).

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Eugene Delacroix. Die Dantebarke. Idealismus und Modernität. ( Fischer kunststück).
James Henry Rubin
Manufacturer: Fischer (Tb.), Frankfurt
ProductGroup: Book
Binding: Paperback
ASIN: 3596239389

Eugene Delacroix: 1798-1863: The Prince Of Romanticism (Basic Art)

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Eugene Delacroix: 1798-1863: The Prince Of Romanticism (Basic Art)
Gilles Neret
Manufacturer: Taschen
ProductGroup: Book
Binding: Paperback

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Eugene Delacroix 1798-1863: The Prince of Romanticism (Basic Series)

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Eugene Delacroix 1798-1863: The Prince of Romanticism (Basic Series)
Giles Neret
Manufacturer: Benedikt Taschen Verlag
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Eugene Delacroix (Getting to Know the World's Greatest Artists)

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Eugene Delacroix (Getting to Know the World's Greatest Artists)
Mike Venezia
Manufacturer: Children's Press (CT)
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Nice Lions

Delacroix: The Late Work
Eugene Delacroix , Vincent Pomarde , Arlette Serullaz , Joseph J. Rishel , Louis-Antoine Prat , and David Loit
Manufacturer: Thames & Hudson
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Binding: Hardcover

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Delacroix
The Cambridge Companion to Delacroix (Cambridge Companions to the History of Art)
Jeff Wall
Portraits by Ingres: Image of an Epoch

ASIN: 0500092753

Book Description

This year marks the bicentennial of the birth of Eugne Delacroix (1798-1863), the great French Romantic painter. A pivotal figure in the history of nineteenth-century art, Delacroix stands both at the culmination of the great painterly tradition of Titian, Veronese, Rubens, and Rembrandt and at the beginning of something quite new and modern, as witnessed by the reverence given him by artists of following generations who were so profoundly influenced by his work: Renoir, Czanne, Picasso, and Matisse. This publication, accompanying an international exhibition that begins in Paris and travels to the Philadelphia Museum of Art, presents in glorious color subjects ranging from saints and warriors to mythical goddesses, from Arab hunting scenes and tigers to sumptuous bouquets of flowers. Delacroix's late work reveals a deepening spiritual intensity and has more to do with aesthetic reflection and recollection than with the expansive narrative that characterized his grand public commissions. Focusing on the artist's last works allows further insight into this most remarkable and protean figure in the history of art.

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Nice Lions.......2006-05-25

This is one of your typical thick museum catalogs with fairly nice sized pictures and a ton of text about each one. I bought it for the great lion pictures. It would be five stars if more of the pictures had been larger, but what you see is what you get. This is a museum catalog after all. The pictures are of a decent size to see, don't get me wrong. I would just pay the $10 for the paperback version and be happy. The cover is very nice - see the hardcover version on Amazon. It is a tiger attacking an Arab on a horse. Yes, very Romantic, and Delacroix certainly knew how to draw lions and tigers, O My!

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Delacroix Pastels
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Manufacturer: George Braziller
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The fellowship of the colors

Delacroix
Barthelemy Jobert
Manufacturer: Princeton University Press
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Amazon.com

A Sorbonne professor and curator of a Delacroix exhibit at the Bibliothèque Nationale gives readers a new, lucid, and well-illustrated study of this painter--a familiar name who is still not widely understood or popular. Eugène Delacroix (1798-1863), so very much tied to the history of his time, created vast canvases using that history as allegory. Therefore, he must suffer in appreciation today, when so few museumgoers have the cultural baggage they possessed a century and a half ago. So, huge canvases like The Death of Sardanapalus and The Murder of the Bishop of Liege must mean less to contemporary viewers, just as another painting, Tasso in the Hospital of Saint Anna, was more meaningful to a viewing public who had actually read the work of Torquato Tasso, author of Gerusalemme Liberata. However, the good reproductions in this book and Barthelmy Jobert's cogent analyses go far to underline Delacroix's inspiration from previous artists like Michelangelo, and his strong grasp of architecture.

Princeton University Press has done a good production job on this title, although they are scandalously scant when it comes to crediting the translators, Terry Grabar and Alexandra Bonfante-Warren (who did a clear job of translating from the original French, but are mentioned only in minuscule print on the copyright page). Even the author must have considered this unchivalrous, for he thanked the translators in his own fine-print acknowledgements at the end of the book. Apart from this detail, Jobert's Delacroix in English is a bravura effort and a very welcome and attractive addition to any bookshelf of 19th-century European art. --Benjamin Ivry

Book Description

Responding to resurgent interest in nineteenth-century French painting--with its rich connections to revolutionary politics, exoticism, romance, and nationalism--Barthélémy Jobert offers this long-awaited, first comprehensive book on one of the period's greatest and most elusive artists: Eugtne Delacroix (1798-1863). This solitary genius produced stormy, romantic works like The Death of Sardanapalus and then turned to more classically inspired paintings, such as Liberty Leading the People--a fact that has never been fully explained. In this visually compelling tribute to the artist, however, Jobert explores the driving inner tensions and contradictions behind both Delacroix's life and work. Jobert not only re-creates the political and cultural arenas in which Delacroix thrived, but also allows readers a rare opportunity to appreciate the full range of his artistic production. Delacroix's large canvases, decorative cycles, watercolors, and engravings, which are widely dispersed throughout the world, are beautifully represented here in 231 color plates. The book is timed to commemorate the bicentenary of Delacroix's birth.</p>

Traditionally described as an artistic loner, Delacroix profoundly influenced later painters such as Cézanne and Picasso. An image of the artist as a man of his times comes to light, however, as Jobert reveals the ways in which Delacroix successfully navigated a career within the Salon system and through government commissions. Delacroix socialized with George Sand and Victor Hugo, engaged Baudelaire and Gauthier in intense philosophical discussions about art, and maintained a lively interaction with the press. As a passionate artist who sought to make money in a politically volatile climate, Delacroix managed to create works that transcended the ideology of his government connections.</p>

Delacroix's famous trip to Morocco, which had the ironic outcome of directing his attention away from Romanticism and back toward his classical roots, is analyzed in detail. Considering both Delacroix's training and sources of inspiration, Jobert shows how the Moroccan journey led the artist to a balanced approach to his art: the classical tradition he had never totally abandoned was permanently combined with the Romanticism of his youth. Over the long span of his career, Delacroix responded to the literary fascination with Orientalism, the politics of the Restoration and French imperialism, and popular interest in travel and documentation. He painted everything from sweeping epic tales to intimate interiors. Only now has the scope and scale of Delacroix's oeuvre come to life in a detailed and up-to-date account for the specialist and general reader alike.</p>

Customer Reviews:

The fellowship of the colors.......2001-12-05

We are lucky that so much of DELACROIX's art is still around, lightly spread throughout the world: the only lost works are "Cardinal Richelieu saying mass" during the sack of the Palais Royal in 1848, the decoration of the Salon de la Paix at the Paris Hotel de Ville during the Commune, and "Justinian drafting his laws" during the fire at the Conseil d'Etat in the Palais d'Orsay in 1871. Taken in by anything new that the paint suppliers were selling, DELACROIX made bad choices in canvas and paints: the Romantic "Battle of Nancy," the Classical "Boissy d'Anglas at the National Convention," and the exotic "Moroccan chieftain receiving tribute" suffered from using bitumen, just as "Barque of Dante" has from going over fresh spots. Yet he thought of painting as storytelling with the richly vigorous colors of Peter Paul Rubens and of Paolo Veronese's "St Barnabas healing the sick." He was the only great Western artist to leave masses of manuscripts, as journals, letters and published articles, so we can walk our way through his sketches and writings to the finished products of the master colorist of people, landscapes, buildings, and animals: "Louis-Auguste Schwiter" standing, as his only full-length portrait, inspired by Thomas Gainsborough and Joshua Reynolds; "Charles de Verninac," in two Thomas Lawrence-style expressive bust portraits, with a carefully worked face, large brushstrokes, sketchy background clothes, and subtly agreeing colors; and his last, "Alfred Bruyas," with a Hamlet-like head melancholic, meditative and languid in a harmony of greens, browns and blacks. He was also a master landscapist of few painted landscapes, such as "Banks of the river Sebou," his only salon-shown landscape; "Sea at Dieppe," Impressionist in subject and technique; and "Still life with lobsters," with John Constable-type smooth varnish obviously brushstroked and with a David Wilkie-type lobster right out of "Chelsea prisoners reading the gazette of the battle of Waterloo." But most of his landscapes backgrounded his historytellings, such as "Natchez" and "Ovid among the Scythians": his history style of adding expressiveness and framing scenes was Richard Parkes Bonington-like in being more entertaining and picturesque than heroic, such as in "Henri III at the deathbed of his favorite mistress, Marie de Cleves" and with "Henri IV courting Gabrielle d'Estrees" and in seeming neartransparent watercolor-like by varnish made with copal, such as in the richly colored "Charles VI and Odette de Champdivers" and "Louis d'Orleans showing his mistress Odette de Champdivers." His building decorations harmonized balanced colors with finely drafted figures while getting architecture, light and paint to work together: at the Palais du Luxembourg's cupola harmonious light and vigorous colors dealt with the architecture by background landscape in blues and greens, central sky cloud-filled, and figures fleshtoned against bright reds, blues, greens, ochers, oranges, and whites; and at the Salon du Roi half-domes lighted figures clustered on the bottom as well as the landscapes and skies topwards in intense blues and greens. My sculptress mother used to say, and my artist sister keeps on saying, that artists see the world first in blacks and whites, with perfect examples in the DELACROIX tigers, lions, and horses changed into blacks, grays, and whites particularly showing color mastery. In fact, the author describes these animals as Romanticized in character and power by the very play of color and matter: Theodore Gericault- and Antoine-Jean Gros-influenced "Wild horse," as my special favorite; "Tam O'Shanter" rapidly brushstroked into a horizontally elongated horse, rider and witch in the "Derby at Epsom" style of Gericault; and "Royal tiger" and "Lion of the Atlas," as his two most successful lithographs, along with the dramatically white counterpointed "Macbeth and the witches" lithograph haloing the former and turning the latter into "phantoms of obscurity." So Barthelemy Jobert's is the book to read, in this beautifully clear, masterful English translation: he owns up to only talking about fitting DELACROIX into what went before, and I wish that he would write a sequel fitting the artist into what came after. Any readers looking for comparison reading might find helpful and interesting DELACROIX: THE LATE WORK, Loys Delteil's EUGENE DELACROIX, EUGENE DELACROIX: SELECTED LETTERS, 1813-1863, Michele Hannoosh's PAINTING AND THE JOURNAL OF EUGENE DELACROIX, Lee Johnson's DELACROIX PASTELS, and Editor Beth Segal Wright's THE CAMBRIDGE COMPANION TO DELACROIX.

The World of Delacroix: 1798-1863 (Time-Life library of art)

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The World of Delacroix: 1798-1863 (Time-Life library of art)
Tom Prideaux
Manufacturer: Time Life Education
ProductGroup: Book
Binding: Hardcover

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The World of Titian, C. 1488-1576,
The world of Durer, 1471-1528, (Time-Life library of art)
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ASIN: 0809402041

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Journal of Eugene Delacroix

Manufacturer: Hacker Art Books
ProductGroup: Book
Binding: Hardcover
ASIN: 0878172750

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