Delacroix by Lee Johnson

By Lee Johnson

Ferdinand Victor Eugène Delacroix (26 April 1798 – thirteen August 1863) used to be a French Romantic artist looked from the outset of his occupation because the chief of the French Romantic university. Delacroix's use of expressive brushstrokes and his examine of the optical results of color profoundly formed the paintings of the Impressionists, whereas his ardour for the unique encouraged the artists of the Symbolist flow. an exceptional lithographer, Delacroix illustrated quite a few works of William Shakespeare, the Scottish author Walter Scott and the German author Johann Wolfgang von Goethe.

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Racine or Shakespeare? Raphael or Michelangelo? Poussin or Rubens? 'Is disproportion one of he asks himself in one inthe conditions that compel admiration? stance. If Mozart, Cimarosa and Racine are less striking because of the admirable proportion in their works, do not Shakespeare, Michelangelo and Beethoven owe something of their effect to an opposite ' ' 51 Intellectually, he tended to argue himself on to the side quality? of the classics, but temperamentally he was strongly attached to the others (among whom he must now be counted), and it was they who had the larger influence on his art.

In his figure paintings immediately following the English journey there is a marked increase in the use of rich glazes that can be largely attrib- in uted to English influence (Pis. 10, 13, 14, 17). Since the eighteenth century, English figure painters had continued to employ glazes to obtain sonorous effects of colour, whereas orthodox French NeoClassicists, in reaction against Rococo techniques, appear to have regarded extensive glazing as a sign of technical incompetence. It may also be the result of English influence in 1825 that in the four years following his return to France, three of Delacroix's major history paintings were to be inspired by English literature: The Murder of the Bishop Liege, from Walter Scott's Quentin Durward (PI.

His resemblance to the violinist was proof of Paganini's infernal origin. The myth was no doubt still current during the French tour, since in writing to the made — — ' ' 49 Revue Musicale in 1831 to repudiate rumours that he had gone to gaol in his youth for murdering his mistress, Paganini took the opportunity pubHcly to disown all diabolical associations. Even those who were not granted a vision of the Devil felt, like a Viennese critic, that when Paganini played a higher spirit seemed to take possession of him '.

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