Eugene Delacroixs Painting Liberty Leading the People Is an Example of Art That

French painter (1798–1863)

Eugène Delacroix
Eugène Delacroix, c. 1857 (portrait past Nadar)
Built-in	Ferdinand Victor Eugène Delacroix (1798-04-26)26 April 1798 Charenton-Saint-Maurice, Île-de-French republic, France
Died	thirteen August 1863(1863-08-13) (aged 65) Paris, France
Known for	Painting, Lithography
Notable piece of work	Liberty Leading the People (1830)
Movement	Romanticism

Ferdinand Victor Eugène Delacroix ( DEL-ə-krwah, -⁠KRWAH ,^[one] French: [øʒɛn dəlakʁwa]; 26 April 1798 – 13 August 1863) was a French Romantic artist regarded from the outset of his career every bit the leader of the French Romantic schoolhouse.^[2]

In contrast to the Neoclassical perfectionism of his chief rival Ingres, Delacroix took for his inspiration the art of Rubens and painters of the Venetian Renaissance, with an bellboy emphasis on colour and movement rather than clarity of outline and carefully modelled class. Dramatic and romantic content characterized the central themes of his maturity, and led him not to the classical models of Greek and Roman art, but to travel in Northward Africa, in search of the exotic.^[3] Friend and spiritual heir to Théodore Géricault, Delacroix was also inspired by Lord Byron, with whom he shared a strong identification with the "forces of the sublime", of nature in oftentimes violent action.^[four]

Nonetheless, Delacroix was given to neither sentimentality nor bombast, and his Romanticism was that of an individualist. In the words of Baudelaire, "Delacroix was passionately in love with passion, but coldly adamant to express passion as clearly as possible."^[five] Together with Ingres, Delacroix is considered ane of the last old Masters of painting, and i of the few who was ever photographed.

Equally a painter and muralist, Delacroix's use of expressive brushstrokes and his study of the optical effects of colour profoundly shaped the work of the Impressionists, while his passion for the exotic inspired the artists of the Symbolist movement. A fine lithographer, Delacroix illustrated various works of William Shakespeare, the Scottish author Walter Scott and the German author Johann Wolfgang von Goethe.

Early life [edit]

Portrait of Delacroix early in his career

Eugène Delacroix was built-in on 26 April 1798 at Charenton-Saint-Maurice in Île-de-France, nigh Paris. His mother was named Victoire Oeben, the girl of the cabinet-maker Jean-François Oeben. He had 3 much older siblings. Charles-Henri Delacroix (1779–1845) rose to the rank of General in the Napoleonic regular army. Henriette (1780–1827) married the diplomat Raymond de Verninac Saint-Maur (1762–1822). Henri was born six years later. He was killed at the Boxing of Friedland on 14 June 1807.^[six]

There are medical reasons to believe that Eugène's legitimate begetter, Charles-François Delacroix, was not able to procreate at the fourth dimension of Eugène's formulation. Talleyrand, who was a friend of the family unit and successor of Charles Delacroix as Minister of Foreign Affairs, and whom the adult Eugène resembled in appearance and grapheme, considered himself as his existent father.^[vii] Afterwards assuming his office as foreign minister Talleyrand, dispatched Delacroix to The Hague in the chapters of French ambassador to the then Batavian Republic. Delacroix who at the time suffered from erectile dysfunction returned to Paris in early September 1797, only to detect his wife pregnant. Talleyrand went on to assist Eugène in the form of numerous anonymous commissions.^[8] Throughout his career as a painter, he was protected by Talleyrand, who served successively the Restoration and rex Louis-Philippe, and ultimately as ambassador of France in Great Britain, and later by Charles Auguste Louis Joseph, duc de Morny, half-brother of Napoleon III and speaker of the French House of Eatables. His legitimate father, Charles Delacroix, died in 1805, and his mother in 1814, leaving sixteen-year-old Eugène an orphan.

His early education was at the Lycée Louis-le-Grand, and at the Lycée Pierre Corneille in Rouen^[nine] where he steeped himself in the classics and won awards for drawing. In 1815 he began his grooming with Pierre-Narcisse Guérin in the neoclassical style of Jacques-Louis David. An early on church building committee, The Virgin of the Harvest (1819), displays a Raphael-esque influence, but another such commission, The Virgin of the Sacred Heart (1821), evidences a freer estimation.^[10] It precedes the influence of the more colourful and rich manner of the Flemish Baroque painter Peter Paul Rubens, and fellow French artist Théodore Géricault, whose works marked an introduction to Romanticism in art.

The impact of Géricault's The Raft of the Medusa was profound, and stimulated Delacroix to produce his starting time major painting, The Barque of Dante, which was accepted by the Paris Salon in 1822. The piece of work caused a sensation, and was largely derided by the public and officialdom, however was purchased by the Land for the Luxembourg Galleries; the pattern of widespread opposition to his piece of work, countered by a vigorous, enlightened support, would continue throughout his life.^[11] Two years later he again achieved pop success for his The Massacre at Chios.

Career [edit]

Chios and Missolonghi [edit]

Delacroix'southward painting of the massacre at Chios shows ill, dying Greek civilians most to be slaughtered past the Turks. One of several paintings he fabricated of this contemporary consequence, expressed the official policy for the Greek cause in their war of independence against the Turks, war sustained past English, Russian and French governments. Delacroix was quickly recognized by the government equally a leading painter in the new Romantic style, and the picture show was bought by the country. His depiction of suffering was controversial, still, equally in that location was no glorious event taking identify, no patriots raising their swords in valour every bit in David'due south Oath of the Horatii, only a disaster. Many critics deplored the painting's despairing tone; the artist Antoine-Jean Gros called it "a massacre of art".^[11] The pathos in the depiction of an baby clutching its dead mother's breast had an especially powerful effect, although this detail was condemned as unfit for art past Delacroix'southward critics. A viewing of the paintings of John Constable and the watercolour sketches and art of Richard Parkes Bonnington prompted Delacroix to make extensive, freely painted changes to the heaven and distant landscape.^[12]

Delacroix produced a second painting in support of the Greeks in their war for independence, this time referring to the capture of Missolonghi past Turkish forces in 1825.^[13] With a restraint of palette appropriate to the allegory, Greece Expiring on the Ruins of Missolonghi displays a adult female in Greek costume with her chest bared, arms half-raised in an imploring gesture before the horrible scene: the suicide of the Greeks, who chose to kill themselves and destroy their city rather than surrender to the Turks. A hand is seen at the bottom, the trunk having been crushed past rubble. The painting serves as a monument to the people of Missolonghi and to the thought of freedom against tyrannical rule. This event interested Delacroix non but for his sympathies with the Greeks, just as well because the poet Byron, whom Delacroix greatly admired, had died there.^[2]

Romanticism [edit]

Equus caballus Frightened by a Tempest, watercolour, 1824

A trip to England in 1825 included visits to Thomas Lawrence and Richard Parkes Bonington, and the colour and treatment of English painting provided impetus for his only full-length portrait, the elegant Portrait of Louis-Auguste Schwiter (1826–30). At roughly the same time, Delacroix was creating romantic works of numerous themes, many of which would proceed to interest him for over thirty years. By 1825, he was producing lithographs illustrating Shakespeare, and before long thereafter lithographs and paintings from Goethe'southward Faust. Paintings such every bit The Combat of the Giaour and Hassan (1826), and Woman with Parrot (1827), introduced subjects of violence and sensuality which would prove to be recurrent.^[14]

These various romantic strands came together in The Death of Sardanapalus (1827–28). Delacroix's painting of the death of the Assyrian king Sardanapalus shows an emotionally stirring scene alive with beautiful colours, exotic costumes and tragic events. The Decease of Sardanapalus depicts the besieged king watching impassively equally guards carry out his orders to kill his servants, concubines and animals. The literary source is a play by Byron, although the play does not specifically mention any massacre of concubines.^[15]

Sardanapalus' attitude of calm disengagement is a familiar pose in Romantic imagery in this menstruum in Europe. The painting, which was not exhibited once more for many years afterward, has been regarded by some critics^{[ who? ]} as a gruesome fantasy involving death and lust. Peculiarly shocking is the struggle of a nude woman whose throat is well-nigh to exist cut, a scene placed prominently in the foreground for maximum bear on. Notwithstanding, the sensuous beauty and exotic colours of the composition make the movie appear pleasing and shocking at the same time.^{[ original research? ]}

A diverseness of Romantic interests were again synthesized in The Murder of the Bishop of Liège (1829). It as well borrowed from a literary source, this time Scott, and depicts a scene from the Middle Ages, that of the murder of Louis de Bourbon, Bishop of Liège among an orgy sponsored by his captor, William de la Marck. Set in an immense vaulted interior which Delacroix based on sketches of the Palais de Justice in Rouen and Westminster Hall, the drama plays out in chiaroscuro, organized around a brilliantly lit stretch of tablecloth. In 1855, a critic described the painting's vibrant treatment as "Less finished than a painting, more finished than a sketch, The Murder of the Bishop of Liège was left by the painter at that supreme moment when one more than stroke of the castor would take ruined everything".^[16]

Liberty Leading the People [edit]

Delacroix's most influential work came in 1830 with the painting Freedom Leading the People, which for choice of subject and technique highlights the differences between the romantic approach and the neoclassical style. Less manifestly, it also differs from the Romanticism of Géricault, as exemplified past The Raft of the Medusa.

Delacroix felt his composition more vividly as a whole, thought of his figures and crowds as types, and dominated them by the symbolic effigy of Republican Liberty which is 1 of his finest plastic inventions...^[17]

Probably Delacroix's best-known painting, Freedom Leading the People is an unforgettable image of Parisians, having taken upwardly arms, marching forward nether the banner of the tricolour representing liberty, equality, and fraternity. Although Delacroix was inspired by gimmicky events to invoke this romantic epitome of the spirit of liberty, he seems to exist trying to convey the volition and character of the people,^[17] rather than glorifying the bodily event, the 1830 revolution against Charles 10, which did fiddling other than bring a different king, Louis-Philippe, to power. The warriors lying dead in the foreground offer poignant counterpoint to the symbolic female person effigy, who is illuminated triumphantly against a background of smoke.^[eighteen]

Although the French government bought the painting, by 1832 officials deemed its glorification of liberty likewise inflammatory and removed it from public view.^[19] Nonetheless, Delacroix still received many regime commissions for murals and ceiling paintings.^[20]

Post-obit the Revolution of 1848 that saw the end of the reign of King Louis Philippe, Delacroix' painting, Freedom Leading the People, was finally put on display by the newly elected President, Louis Napoleon (Napoleon III). Information technology is exhibited in the Louvre museum in Paris; although from December 2012 until 2014 it was on exhibit at Louvre-Lens in Lens, Pas-de-Calais.^[21]

The boy holding a pistol aloft on the right is sometimes idea to be an inspiration for the Gavroche character in Victor Hugo's 1862 novel, Les Misérables.^[22]

Travel to N Africa [edit]

In 1832, Delacroix traveled to Spain and North Africa in company with the diplomat Charles-Edgar de Mornay, as part of a diplomatic mission to Kingdom of morocco presently afterward the French conquered Algeria. He went non primarily to study art, but to escape from the civilization of Paris, in hopes of seeing a more than "primitive" civilization.^[17] He somewhen produced over 100 paintings and drawings of scenes from or based on the life of the people of North Africa, and added a new and personal affiliate to the interest in Orientalism.^[23] Delacroix was entranced by the people and their clothes, and the trip would inform the discipline matter of a dandy many of his future paintings. He believed that the N Africans, in their attire and their attitudes, provided a visual equivalent to the people of Classical Rome and Greece:

The Greeks and Romans are here at my door, in the Arabs who wrap themselves in a white blanket and look like Cato or Brutus...^[17]

Self-portrait, 1837. "Eugène Delacroix was a curious mixture of skepticism, politeness, dandyism, willpower, cleverness, despotism, and finally, a kind of special goodness and tenderness that always accompanies genius".^[24]

He managed to sketch some women secretly in Algiers, equally in the painting Women of Algiers in their Apartment (1834), but generally he encountered difficulty in finding Muslim women to pose for him considering of Muslim rules requiring that women exist covered.^{[ commendation needed ]} Less problematic was the painting of Jewish women in North Africa, as subjects for the Jewish Wedding in Morocco (1837–1841).

While in Tangier, Delacroix made many sketches of the people and the city, subjects to which he would return until the finish of his life.^[25] Animals—the embodiment of romantic passion—were incorporated into paintings such as Arab Horses Fighting in a Stable (1860), The Lion Chase (of which there exist many versions, painted between 1856 and 1861), and Arab Saddling his Horse (1855).

Musical inspirations [edit]

Medea about to Kill Her Children, 1838

Delacroix drew inspiration from many sources over his career, such equally the literary works of William Shakespeare and Lord Byron, and the artistry of Michelangelo. But, throughout his life, he felt a constant need for music, saying in 1855 that "cypher tin be compared with the emotion caused by music; that it expresses unequalled shades of feeling." He also said, while working at Saint-Sulpice, that music put him in a state of "exaltation" that inspired his painting. It was often from music, whether the most melancholy renditions of Chopin or the "pastoral" works of Beethoven, that Delacroix was able to depict the almost emotion and inspiration. At one betoken during his life, Delacroix befriended and made portraits of the composer Chopin; in his journal, Delacroix praised him oft.^[26]

Murals and later life [edit]

In 1838 Delacroix exhibited Medea about to Kill Her Children, which created a sensation at the Salon. His outset large-scale handling of a scene from Greek mythology, the painting depicts Medea clutching her children, dagger drawn to slay them in vengeance for her abandonment by Jason. The three nude figures form an blithe pyramid, bathed in a raking light that penetrates the grotto in which Medea has subconscious. Though the painting was quickly purchased past the Land, Delacroix was disappointed when it was sent to the Lille Musée des Beaux-Arts; he had intended for it to hang at the Grand duchy of luxembourg, where information technology would have joined The Barque of Dante and Scenes from the Massacres of Chios.^[27]

From 1833 on Delacroix received numerous commissions to decorate public buildings in Paris. In that year he began piece of work for the Salon du Roi in the Chambre des Députés, Palais Bourbon, which was not completed until 1837, and began a lifelong friendship with the female creative person Marie-Élisabeth Blavot-Boulanger. For the next 10 years he painted in both the Library at the Palais Bourbon and the Library at the Palais du Grand duchy of luxembourg. In 1843 he decorated the Church of St. Denis du Saint Sacrement with a large Pietà, and from 1848 to 1850 he painted the ceiling in the Galerie d'Apollon of the Louvre. From 1857 to 1861 he worked on frescoes for the Chapelle des Anges at the Church of Saint-Sulpice in Paris. They included "Jacob Wrestling with the Angel", "Saint Michael Slaying the Dragon", and "The Expulsion of Heliodorus from the Temple".^[28] These commissions offered him the opportunity to compose on a big calibration in an architectural setting, much every bit had those masters he admired, Paolo Veronese, Tintoretto, and Rubens.

The piece of work was fatiguing, and during these years he suffered from an increasingly fragile constitution. In improver to his home in Paris, from 1844 he too lived at a small cottage in Champrosay, where he found respite in the countryside. From 1834 until his death, he was faithfully cared for by his housekeeper, Jeanne-Marie le Guillou, who zealously guarded his privacy, and whose devotion prolonged his life and his ability to continue working in his afterward years.^[29]

In 1862 Delacroix participated in the creation of the Société Nationale des Beaux-Arts. His friend, the author Théophile Gautier, became chairman, with the painter Aimé Millet acting equally deputy chairman. In addition to Delacroix, the committee was composed of the painters Carrier-Belleuse and Puvis de Chavannes. Among the exhibitors were Léon Bonnat, Jean-Baptiste Carpeaux, Charles-François Daubigny, Gustave Doré, and Édouard Manet.^{[ citation needed ]} But afterwards his death in 1863, the society organized a retrospective exhibition of 248 paintings and lithographs by Delacroix—and ceased to mountain any further exhibitions.^{[ citation needed ]}

The winter of 1862–63 was extremely crude for Delacroix; he was suffering from a bad throat infection that seemed to become worse over the grade of the season. On a trip to Champrosay, he met a friend on the train and became wearied after having a chat. On 1 June he returned to Paris to see his medico. Two weeks later, on 16 June, he was getting amend and returned to his house in the country. Only by 15 July he was sick enough to again come across his doctor, who said he could do nothing more than for him. By then, the but nutrient he could consume was fruit. Delacroix realized the seriousness of his status and wrote his volition, leaving a souvenir for each of his friends. For his trusted housekeeper, Jenny Le Guillou, he left enough money for her to alive on while ordering everything in his studio to be sold. He also inserted a clause forbidding whatsoever representation of his features, "whether by a death-mask or by drawing or by photography. I forbid it, expressly."^[30] On xiii Baronial, Delacroix died, with Jenny by his side.^[31] He was buried in Père Lachaise Cemetery in Paris.

His house, formerly situated forth the canal of the Marne, is now near the get out of the motorway leading from Paris to central Germany.

Gallery [edit]

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  Woman With White Socks, 1825–1830, Louvre

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  The Battle of Taillebourg (draft), 1834–35, Louvre

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  Jewish Wedding in Morocco, c.1839, Louvre

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Legacy [edit]

At the sale of his work in 1864, 9140 works were attributed to Delacroix, including 853 paintings, 1525 pastels and water colours, 6629 drawings, 109 lithographs, and over 60 sketch books.^[32] The number and quality of the drawings, whether done for constructive purposes or to capture a spontaneous motion, underscored his caption, "Color always occupies me, only drawing preoccupies me." Delacroix produced several fine self-portraits, and a number of memorable portraits which seem to have been done purely for pleasure, among which were the portrait of boyfriend artist Baron Schwiter, an inspired small oil of the violinist Niccolò Paganini, and Portrait of Frédéric Chopin and George Sand, a double portrait of his friends, the composer Frédéric Chopin and writer George Sand; the painting was cutting after his death, but the private portraits survive.

On occasion Delacroix painted pure landscapes (The Sea at Dieppe, 1852) and notwithstanding lifes (Still Life with Lobsters, 1826–27), both of which feature the virtuoso execution of his effigy-based works.^[33] He is as well well known for his Journal, in which he gave eloquent expression to his thoughts on art and contemporary life.^[34]

A generation of impressionists was inspired past Delacroix'south work. Renoir and Manet made copies of his paintings, and Degas purchased the portrait of Baron Schwiter for his private collection. His painting at the church of Saint-Sulpice has been called the "finest landscape painting of his time".^[35]

Contemporary Chinese creative person Yue Minjun has created his ain interpretation of Delacroix'due south painting Massacre of Chios, which retains the same proper noun. Yue Minjun'southward painting was itself sold at Sotheby'due south for almost $four.1 million in 2007.^[36]

His pencil drawing Moorish Conversation on a Terrace was discovered equally role of the Munich Fine art Hoard.^[37]

See also [edit]

• Jean Louis Marie Eugène Durieu, friend, colleague, and photographer
• List of Orientalist artists
• Orientalism
• Musée national Eugène Delacroix, his concluding apartment in Paris

References [edit]

1. ^ Jones, Daniel (2011). Roach, Peter; Setter, Jane; Esling, John (eds.). Cambridge English Pronouncing Dictionary (18th ed.). Cambridge Academy Press. ISBN978-0-521-15255-6.
2. ^ ^{a b} Noon, Patrick, et al., Crossing the Channel: British and French Painting in the Age of Romanticism, p. 58, Tate Publishing, 2003. ISBN 1-85437-513-X
3. ^ Gombrich, E.H., The Story of Art, pages 504–6. Phaidon Press Limited, 1995. ISBN 0-7148-3355-X
4. ^ Clark, Kenneth, Civilisation, page 313. Harper and Row, 1969.
5. ^ Wellington, Hubert, The Periodical of Eugène Delacroix, introduction, page xiv. Cornell Academy Press, 1980. ISBN 0-8014-9196-seven
6. ^ Sjöberg, Yves (1963). Pour comprendre Delacroix. Editions Beauchesne. p. 29. GGKEY:021FPT3P5E8. Retrieved fifteen March 2014.
7. ^ "Eugène Delacroix biography". Spider web Gallery of Fine art. Retrieved 14 June 2007. André Castelot (Talleyrand ou le cynisme [Paris, Librairie Perrin, 1980]) discusses and rejects the theory, pointing out that correspondence between Charles and his wife during the pregnancy shows no sign of tension or resentment.
8. ^ Bernard, J.F. (1973). Talleyrand: A Biography . New York: Putnam. p. 210. ISBN0-399-11022-4.
9. ^ "Lycée Pierre Corneille de Rouen – The Lycée Corneille of Rouen". ac-rouen.fr.
10. ^ Jobert, Barthélémy, Delacroix, page 62. Princeton University Press, 1997. ISBN 0-691-00418-viii (Princeton University Press published an expanded edition of this book in 2018. ISBN 978-0691182360)
11. ^ ^{a b} Wellington, page xii.
12. ^ Wellington, pages xii, 16.
13. ^ Jobert, page 127.
14. ^ Jobert, folio 98.
15. ^ "'The Death of Sardanapalus' – Analysis and Disquisitional Reception". world wide web.artble.com. Retrieved 27 May 2017.
16. ^ Jobert, pages 116–18.
17. ^ ^{a b c d} Wellington, page fifteen.
18. ^ Allard, Sébastien, Côme Fabre, Dominique de Font-Réaulx, Michèle Hannoosh, Mehdi Korchane, and Asher Ethan Miller (2018). Delacroix. New York, NY: Metropolitan Museum of Art. pp. 74–76. ISBN 1588396517.
19. ^ Allard, Sébastien, Côme Fabre, Dominique de Font-Réaulx, Michèle Hannoosh, Mehdi Korchane, and Asher Ethan Miller (2018). Delacroix. New York, NY: Metropolitan Museum of Art. p. 76. ISBN 1588396517.
20. ^ Allard, Sébastien, Côme Fabre, Dominique de Font-Réaulx, Michèle Hannoosh, Mehdi Korchane, and Asher Ethan Miller (2018). Delacroix. New York, NY: Metropolitan Museum of Fine art. p. 103. ISBN 1588396517.
21. ^ "Louvre museum gets a sis". USAToday. 23 Dec 2012. Retrieved 23 Dec 2012.
22. ^ Néret, Gilles Delacroix, page 26. Taschen, 2000. ISBN 3822859885. Retrieved 27 May 2017.
23. ^ Jobert, page 140.
24. ^ Baudelaire, quoted in Jobert, page 27.
25. ^ Wellington, page xvi.
26. ^ Jean-Aubry, G. (1920). "A Music-Lover of the By: Eugène Delacroix". The Musical Quarterly. half dozen (4): 478–499. doi:10.1093/mq/vi.4.478. JSTOR 737975.
27. ^ Jobert, pages 245–half-dozen.
28. ^ Spector, Jack J. (1985). The Murals of Eugène Delacroix at Saint-Sulpice. Pennsylvania Land University Press.
29. ^ Wellington, pages xxvii–xxviii.
30. ^ Deslandres, Yvonne (1963). Delacroix: A Pictorial Biography . Translated by Griffin, Jonathan. New York: Viking Press. p. 126. OCLC 518099. He passed anxiously through the winter of 1862–63: the bad season was always unsafe to his vulnerable throat. On 26 May he met a friend in the train to Champrosay, and the conversation exhausted him ... On 1 June he decided to return to Paris to see his doctor ... On 16 June, as he seemed to be better, he went back to the country ... On 15 July he was at the end of his strength: he was brought back to Paris ... and was fed on fruit, the only nutrient he could take. His doctors could do nothing ... Aware of his condition, he dictated his volition ... forgetting none of his friends, he left to each of them something to remember him past, to Jenny enough to alive on, and ordered all the contents of his studio to be sold. He also inserted a clause forbidding whatsoever representation of his features 'whether by a death-mask or by cartoon or past photo. I forbid it, expressly.'
31. ^ "Biography". Musée National Eugène Delacroix. Retrieved 24 Apr 2018. ^{[ permanent dead link ]}
32. ^ Wellington, page xxviii.
33. ^ Jobert, page 99.
34. ^ Eugène Delacroix, Journal, nouvelle édition intégrale établie par Michèle Hannoosh, 2 vols., Paris, José Corti, 2009. ISBN 978-2714309990.
35. ^ Wellington, page xxiii.
36. ^ "New record sale of a Chinese contemporary painting: US$five.9 million". Shanghaiist. 15 October 2007.
37. ^ "Photo Gallery: Munich Nazi Art Stash Revealed". Spiegel. 17 November 2013. Retrieved 17 November 2013.

External links [edit]

• Works past or nigh Eugène Delacroix at Internet Archive
• Bibliothèque numérique de l'INHA – Journal et Correspondance d'Eugène Delacroix
• Eugène Delacroix's biography, context, style and technique
• The National Gallery: Delacroix
• Brief biography at the Getty Museum
• Le musée national Eugène Delacroix (in French)
• A gratuitous video documentary nearly Delacroix's Liberty Leading the People
• Harriet Griffiths & Alister Manufacturing plant, Delacroix'south Salon exhibition record, 1827–1849, Database of Salon Artists, 1827–1850
• "Examination of The Shipwreck of Don Juan". Paintings & Drawings. Victoria and Albert Museum. Archived from the original on 29 September 2007.
• Eugène Delacroix (1798–1863): Paintings, Drawings, and Prints from North American Collections, a total text exhibition itemize from The Metropolitan Museum of Fine art
• Romanticism & The School of Nature : Nineteenth-century drawings and paintings from the Karen B. Cohen drove, a full text exhibition catalog from The Metropolitan Museum of Fine art (see index)
• Jennifer A. Thompson, "Basket of Flowers and Fruit by Eugège Delacroix (cat. 974)" in The John G. Johnson Collection: A History and Selected Works ^{[ permanent dead link ]} , a Philadelphia Museum of Fine art free digital publication.

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Source: https://en.wikipedia.org/wiki/Eug%C3%A8ne_Delacroix

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