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post #1 of 68 (permalink) Old May 15th, 2007, 01:23 Thread Starter
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my personal shrine to Eugene Delacroix

.


Ordinary people think that talent must be always on its own level and that it arises every morning like the sun, rested and refreshed, ready to draw from the same storehouse / always open, always full, always abundant / new treasures that it will heap up on those of the day before; such people are unaware that, as in the case of all mortal things, talent has its increase and decrease, and that independently of the career it takes, like everything that breathes...
it undergoes all the accidents of health, of sickness, and of the dispositions
of the soul / its gaiety or its sadness. As with our perishable flesh,
talent is obliged constantly to keep guard over itself, to combat,
and to keep perpetually on the alert amid the obstacles that
witness the exercise of its singular power.


- Eugene Delacroix (1798 - 1863)




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post #2 of 68 (permalink) Old May 15th, 2007, 01:48 Thread Starter
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Let begin with a favourite lithograph from a suite of 19 illustrations to Goethe's Faust.




Méphistophélčs dans les airs, 1828, lithograph
No. 2 from the set of 18 lithographs of Goethe's Faust.


One of Delacroix's biggest fans was Goethe himself, who praised the Faust series by claiming that Delacroix found his "proper food" and "surpassed my [Goethe's] own pictures of the scenes I myself wrote."

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post #3 of 68 (permalink) Old May 16th, 2007, 01:41 Thread Starter
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Now comes the epic paintings ...



Eugčne Delacroix, The Death of Sardanapalus (reduced version), c. 1846
Oil on canvas. Colln: Philadelphia Museum of Art

Sardanapalus, an Assyrian ruler of the seventh century BCE, held out against his besieging enemies for two years before his palace fell. Delacroix depicted the last moments of Sardanapalus, who watches as all his treasures, horses, and concubines are brought together to be burned with him in a defiant act of self-immolation.

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Massacre at Chios, 1824. Oil on canvas. Louvre, Paris

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Liberty Leading the People, 1830, oil on canvas, Louvre, Paris.


Liberty Leading the People (French: La Liberté guidant le peuple) is a painting by Eugčne Delacroix commemorating the July Revolution, and specifically the events of the 28 July 1830 in the centre of Paris. A woman personifying Liberty leads the people forward over the bodies of the fallen, holding the tricolore flag of the French Revolution in one hand and brandishing a bayonetted musket with the other.

Delacroix depicted Liberty as both an allegorical goddess-figure and a robust woman of the people, an approach that contemporary critics denounced as "ignoble". The mound of corpses acts as a kind of pedestal from which Liberty strides, barefoot and bare-breasted, out of the canvas and into the space of the viewer. The Phrygian cap she wears had come to symbolise liberty during the French Revolution.

The fighters are from a mixture of a classes, ranging from the bourgeoisie, represented by the young man in a top hat, to the lower classes, as exemplified by the boy holding pistols. What they have in common is the fierceness and determination in their eyes. Aside from the flag held by Liberty, a second, minute tricolore can be discerned in the distance flying from the towers of Notre Dame.

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post #6 of 68 (permalink) Old May 19th, 2007, 01:49 Thread Starter
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The very people who believe that everything has already been discovered and everything said, will greet your work as something new, and will close the door behind you, repeating once more that nothing remains to be said ...


[Detail]Lion, watercolor, undated.

... Newness is in the mind of the artist who creates, and not in the object he portrays.


- Eugene Delacroix in his Journal, 14 May 1824

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post #7 of 68 (permalink) Old May 20th, 2007, 01:51 Thread Starter
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Royal Tiger, c. 1829, pen and brown ink and watercolor, over graphite. 7 x 10 9/16 in. (178 x 268 cm).


A nice specimen of 19th Century French Romanticism. Who would have thought that was done at the local zoo? Indeed, Delacroix and his friend Anton Barye [the animal sculptor] used to sketch in front of caged beasts in the late 1820's.

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post #8 of 68 (permalink) Old May 20th, 2007, 01:53 Thread Starter
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Horse Frightened by A Storm, undated

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post #9 of 68 (permalink) Old May 20th, 2007, 02:48
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Quote:
Originally Posted by Bonita


Liberty Leading the People, 1830, oil on canvas, Louvre, Paris.

.
The truth is that is the first time I had any notion of what was a art style (without thinking it as just another way to put dates) was looking at this painting. No text book or anything, it was "Hmmm, now I understand what Romanticism is..." (of course, later i discovered I could not be so sure about Delacroix and even later, that was a bit pointless discovery it can be in the end, but I was young, what to do)...

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post #10 of 68 (permalink) Old May 22nd, 2007, 02:20 Thread Starter
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Quote:
Originally Posted by JCamilo
The truth is that is the first time I had any notion of what was a art style (without thinking it as just another way to put dates) was looking at this painting. No text book or anything, it was "Hmmm, now I understand what Romanticism is..." (of course, later i discovered I could not be so sure about Delacroix and even later, that was a bit pointless discovery it can be in the end, but I was young, what to do)...

Actually in, when Delacroix was painting Liberty, he was by no mean young--that is, if we consider age 32 no longer, young.

When I first saw it at the Louvre I was 20 years old and had had the audacity to discuss the work with an elderly French stranger. It started out with her asking me "how in the world did he do it?" Being ruthless and yes, young, I told her Delacroix was never involved in any parts of the French Revolution. I also told her that on the eve of 28 July, 1930, our dearest artist was in his nightshirt performing some indoor activities. Then I turned around and was shocked that a crowd had gathered and they followed me from picture to picture! O the days of Messi.

When E.D. was painting Liberty, Romanticism had long been in progress [like, for some 60+ years? or 150+ years if one considers the Mannerists actually inspired the German Romantics..] In the end it doesn't really matter if we could attach a date to any piece of art work. It is the after taste that lingers in our heads upon looking at somebody else's creative endeavours that counts. Good to see you here J.

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post #11 of 68 (permalink) Old May 22nd, 2007, 02:27 Thread Starter
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Contrary to common opinion, I would say that color has a more mysterious and perhaps more powerful influence: it acts, as one might say, without our knowledge." - Eugene Delacroix in his Journal




A page from his notebook on Morocco, 1832


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post #12 of 68 (permalink) Old May 22nd, 2007, 02:49
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Quote:
Originally Posted by Bonita
Actually in, when Delacroix was painting Liberty, he was by no mean young--that is, if we consider age 32 no longer, young.
I was young, but since he was younger than me, then he can be qualificated as young. Anyone can (But Glen, but since Glen does not seem to know how old I am, he still old).


Quote:
When I first saw it at the Louvre I was 20 years old and had had the audacity to discuss the work with an elderly French stranger. It started out with her asking me "how in the world did he do it?" Being ruthless and yes, young, I told her Delacroix was never involved in any parts of the French Revolution. I also told her that on the eve of 28 July, 1930, our dearest artist was in his nightshirt performing some indoor activities. Then I turned around and was shocked that a crowd had gathered and they followed me from picture to picture! O the days of Messi.
if I recall well (which can not be technically a recalling since you never told me it, You are younger than I am, so you are by my fair classification, still young. The ruthless part however... p :smileani:
That bring me another memory related to this same paiting. 2,3 years ago I was in an art-education course, then one momment a teacher was talking about the Clasic-Romantic dictomy, so we had to bring an artist or artwork to talk about the Romantic or Classic traits of the artwork.
Ok, I was, against my will, selected to talk about Romantic stuff :notlist:
and I got a book with Painting of Delacroix. So, what was the artist that the teachers decided to introduce the class ? Liberty, Delacroix.
Luck me that I have taken a tape with a punk album (Pink Flag - The Wire), then I got before the class, put the tape to play, increased the volume and explained why Punk Rock is Romantic in every sense of the word. (This considerning the class at that momment, with a 40-50 years old age)...

Quote:
When E.D. was painting Liberty, Romanticism had long been in progress [like, for some 60+ years? or 150+ years if one considers the Mannerists actually inspired the German Romantics..]

1700 if we consider Ovid

Quote:
In the end it doesn't really matter if we could attach a date to any piece of art work. It is the after taste that lingers in our heads upon looking at somebody else's creative endeavours that counts. Good to see you here J.
Indeed, no Need of Chronoillogies of any kind

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post #13 of 68 (permalink) Old May 25th, 2007, 22:35 Thread Starter
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Regarding the young and ruthless. Well, let's just say that after Hernan Crespo and I celebrated our birthdays this coming July, I would still be the younger one in an Argie shirt

And, regarding how far romanticism stretches ... have you read the project Heather and I collaborated on back in 2004?


Back to E.D.

Recollection of his journey to Morocco in 1832 ...



Horseman giving a Signal, 1851, Oil on canvas, 22 x 18-1/4 inches
Colln Chrysler Museum of Art

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A Moroccan Saddling a Horse

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Women of Algiers

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post #16 of 68 (permalink) Old May 27th, 2007, 02:10
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bonita you must be a romantic

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Hey chess player, long time no see


If one considered life as a simple loan, one would perhaps be less exacting. We possess actually nothing; everything goes through us. - Delacroix, Journal



Theodore Gericault, Portrait of Eugene Delacroix c.1818-19, oil on canvas
Musee Des Beaux-Arts, Rouen, France

Theordore Gericault was a good friend and important influence on Delacroix. E.D. even modelled for Gericault's Raft of the Medusa (he's the figure leaning forward, with head bowed and left hand clutching a piece of wood).

With this, we begin the section on Delacroix's portraits ...

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post #18 of 68 (permalink) Old May 31st, 2007, 02:30 Thread Starter
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Self-Portrait as Ravenswood, c. 1821, Oil on canvas, 40,9 x 32,3 cm
Musée Eugčne Delacroix, Paris

A very large version of the same painting
http://www.wga.hu/art/d/delacroi/1/102delac.jpg


This unfinished portrait of a young man, whose dark colors intensify the sense of mystery, raised numerous questions about the identity of the figure that Delacroix had chosen as his double. As the stretcher has a penciled note by the painter, "Raveswood" [sic], it was generally accepted that Delacroix depicted himself as Edgar Ravenswood, the hero of Walter Scott's novel, The Bride of Lammermoor, published in 1819 and translated into French soon after. The Spanish clothes worn by Delacroix, along with the large black cape, correspond to Scott's description of his character, the accursed son of Espagnol who was stripped of his ancestors' lands when his father died. In fact, the Delacroix children found themselves in a similar situation at the time; they were on the brink of ruin, because of the irremediable loss of the Boixe forest, land that belonged to their recently deceased mother - and claimed by a host of creditors.

Delacroix, stricken by his family's situation, was also in ill health, which would explain the emaciated face in this portrait.

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post #19 of 68 (permalink) Old May 31st, 2007, 15:07
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i really like the lion.

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post #20 of 68 (permalink) Old June 2nd, 2007, 02:09 Thread Starter
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Heike! great to see you here! Do stay around ... for more lions


The Polish-born composer Frédéric Chopin died in Paris when he was just 39 years old, but during his short life he became one of the world's most celebrated pianists. Chopin was adored for his charm and beloved for his music - pieces which still, a century and a half after their composition, go straight to the heart. His friends were poets, musicians, painters, and Polish exiles, but one relationship took importance over all others: his nine-year love affair with the French authoress George Sand. Chopin and Sand surrounded themselves with the most creative and gifted minds of Europe. One member of their exclusive salon - the painter Eugène Delacroix - was especially close to the lovers.

In 1838, Delacroix painted Sand and Chopin [he played while she revelled in his music...] After Delacroix's death, the painting was eventually cut apart and sold.



Currently "Chopin" [Portrait of Frederic Chopin, Oil on canvas, 1838 (45 x 38cm)] is at the Musee de Louvre, Pars while "George Sand" is in a private collection and rarely shown to the public.

I had the pleasure to view the piece(s) and yes, it was very strange looking at both portraits -- at different times and different places.

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