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By Eugène Delacroix, Peter Russell
Собрание произведений (более 2 hundred) Эжена Делакруа, французского живописца и графика, одного из основателей романтического направления в европейской живописи. The chief of the French Romantic college of paintings, Eugene Delacroix was once influential within the improvement of either Impressionist and Post-Impressionist portray, generating old and modern masterpieces that will swap the process paintings. This e-book offers Delacroix’s whole work in attractive element, with concise introductions and hundreds of thousands of top of the range photos. * the full work of Eugene Delacroix — over 2 hundred work, absolutely listed and organized in chronological and alphabetical order * comprises reproductions of many infrequent works * Enlarged ‘Detail’ photographs, permitting you to discover Delacroix’s celebrated works intimately. * targeted chronological and alphabetical contents tables for the entire work
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Extra resources for Delphi Complete Paintings of Eugene Delacroix
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The sitter has been identified as an artists’ model, who according to Alfred Robaut, Delacroix’s biographer, posed several times for Delacroix and for Richard Parkes Bonington, and who perhaps ‘distributed her favours impartially between the two artists’. ” The sitter’s timid attitude and anxious expression help to establish a sense of naturalistic simplicity, with no decorative arrangement. Although the canvas already experiments with the variations of light on flesh that were to preoccupy the artist later in his career, the pigment, applied in tentative touches in a granular impasto, has not yet acquired the fluidity which was to owe to the influence of English painting.
The subject of Apollo Slays Python is taken from the Roman poet Ovid’s Metamorphoses and concerns the victory of Good over Evil, taking the general form of beauty vanquishing the ugly and genius overcoming ignorance. Delacroix honours Le Brun’s intention to depict the mythological figure of Apollo in the gallery of that name, though the artist extends the allegory with a further message close to his own heart: intelligence wrestling with barbarity and light struggling through darkness. By emphasising the contrast between the two parts of his composition, the world of the sun above and that of darkness beneath, Delacroix transforms Le Brun’s project and raises it to the plane of an eternal symbol.
As early as 1821, at twenty-three years old, Delacroix took great pleasure in painting himself as the in vogue Ravenswood. However, Delacroix’s more famous Louvre self-portrait, completed fifteen years later, would prove a more lasting and genuine impression of the painter. The Self-portrait of 1837 was bequeathed after Delacroix’s death to his devoted housekeeper, Jenny Le Guillou, with the condition that it would eventually be allowed into the national collection. Confidently, the artist comprehends us, dressed in a rich green Scottish waistcoat, denoting his success.