Titles of works occur under the artist’s name. Titles of works for Delacroix occur under his name, and under the following main headings: animal paintings; murals; North African paintings. Page numbers in italics refer to illustrations.
Abd el-Malek, Mohammed ben Abou, 103–5, 104
Abd er Rahman, Moulay, sultan, 76, 93–94
Abel de Pujol, Alexandre-Denis, 46
Académie des beaux-arts (Academy)
Delacroix in conflict with, 29, 30–31, 73, 186n36
Delacroix perceived as outsider to, 73
devotion of Delacroix to, 151
See also Salon
Achebe, Chinua, 111
Achilles, 113, 175–76, 178, 191n54, 200n30
Action française, 153
Africa. See North Africa
Alberti, Leon Battista, 29
Alexander the Great, 176, 200n32
in Deputies’ Library murals, 42, 157, 173, 173
in Luxembourg Palace murals, 62–63, 63
Algeria
conquest and colonization by France, 8, 76–77, 91–95, 193–94nn29–30, 34, 37–38
conquest of, as subject in Delacroix murals, 43, 92
military iconography and, 95
Orientalist painting and consolidation of colonialization, 95–96, 194n49
See also Morocco; North African paintings of Delacroix; Orientalism
Allard, Sébastien, 101
Andrieu, Pierre, 28
animals
analogies to humans, 117, 118–19, 121, 129, 195n2, 196nn17–18
barbarism of humans compared to, 116–17, 119–23, 136–37, 195n11, 196–97nn19, 24, 27
as free from ennui, 16–17, 123, 184n6
as metaphor for inspiration, 123
animal paintings, 120–21, 121–22, 137, 138, 139–40, 196n19, 198n54
animal paintings of Delacroix
overview, 113–14
analogies between animals and man, 117, 118–19, 121, 129, 195n2, 196nn17–18
art-historical references and, 139, 140, 146
and barbaric aspect of man under veneer of civilization, 116–17, 119–23, 136–37, 195n11, 196–97nn19, 24, 27
and Antoine Barye, 117–18
critical reception of, 126–27
and ethnography, switch to imaginativeness from, 139, 140, 146
formal aspects/effects and, 114–16, 115–16, 118–19, 125–27, 129–30, 132, 141–46
and freedom from constraints of civilization, 117, 123–24, 132, 146, 151
gender and, 139
gifts and donations of, 124, 197n29–30
and immediate, direct form of experience, 11–12, 114, 132, 146
and natural history, 121–22, 196nn16–18, 24
and naturalism, 114
and nature, fascination of Delacroix for, 113
in North African oeuvre, 86–87
obsession with subject matter, 124, 197n29–30
as percentage of oeuvre, 113, 124
and popular culture, 137–40, 146, 198nn52–54, 61
and release from the here and now, 123–24, 129, 132, 146, 151
Rubens as inspiration for, 127–30, 128, 130–31, 136, 139, 140, 146
sexual passions and, 196–97n27
study sessions for, 113, 117–19, 128–29, 137n52
WORKS:
Arabs Hunting a Lion, 139, 140
Lion Attacking a Boar, 114–15, 115
Lion Attacking a Tiger, 124, 124
Lion Hunt (1855, Bordeaux), 113, 124–28, 125–27, 136–37, 139, 140, 146, 150, 197n32
Lion Hunt (sketch, 1854), 125, 126
Lion Hunt (modello, 1855), 125, 127, 130
Lion Hunt (1858, Boston), 115–16, 116
Lion Hunt (1863, Chicago), 141–42, 142–43, 144
Studies After Rubens’s Lion Hunt, 129, 130
Study After Rubens’s Lion Hunt, 129, 130
Two Studies of a Dead Lion, 118–19, 119
Women Bitten by a Tiger, 196–97n27
Young Tiger Playing with Its Mother, 114, 114
antitheses in Delacroix’s art, 6, 12, 60, 66, 72, 102, 136–37, 152. See also gender and the civilization/barbarism binary; murals in the Deputies’ Library of the Bourbon Palace: antitheses in
Apollo Gallery, murals of Delacroix in, 2, 62, 66–70, 67–68, 69, 129, 150, 153
Archimedes, 45, 47, 159, 174, 178, 180
Artaxerxes, 158
art, Delacroix on. See under Delacroix, Eugène
art-historical references. See under Delacroix, Eugène
the artist
antitheses as raw material of, 59
as constrained/disabled by tradition, 30–34, 58–62, 186–87n40, 190n44
in exile, 2
geniuses who start traditions, 30–31, 59–60
as misunderstood, 2
in relation to the uncivilized, 59
as susceptible to ennui, 17, 28
Auguste, Jules-Robert, 290
Bacchus, 72
Ballanche, Pierre-Simon, 38
Comédie humaine, 122
“Une passion dans le désert”, 198n54
Baratay, Éric, 137
barbarism
animals compared to human capacity for, 116–17, 119–23, 136–37, 195n11, 196–97nn19, 24, 27
in cycle of civilization, 185nn12, 15–16, 197–98n48
of France, and Algerian colonization, 91–94, 193n34
and the irrational as essential to human vitality, 11
as part and parcel of civilization, 20–22, 66, 185nn15–17, 191n54
and release from the here and now, 6
See also civilization; progress
Barry, James, murals in the Great Room of the Royal Society of Arts, 7, 46, 179
Barye, Antoine, 117–18
The Lion of Admiral Rigny, 117–18, 118
Baudelaire, Charles, 1, 27–28, 35, 36, 185n27
Les Fleurs du Mal, 199n10
Salon of 1859, 32–33
Baudry, Paul, 58
Belvedere Torso, 174
Benjamin, Roger, 192n4
Benjamin, Walter, 197n38
Bertin, Armand, 92
binary oppositions. See antitheses in Delacroix’s art; gender and the civilization/barbarism binary; murals in the Deputies’ Library of the Bourbon Palace: antitheses in
Blanc, Charles, 93–94
Blashfield, Edwin, mural for the Main Reading Room of the Library of Congress, 7
Bloom, Harold, 59
Bohrer, Frederick, 185n19
Bolswert, Schelte, print after Rubens, Lion Hunt, 128
Bonapartism (Napoleonic tradition), 25, 43, 44, 95
Bossuet, Jacques-Bénigne, 166
Bourbon Palace
proposal (declined) for decorating three rooms by Delacroix, 42–46, 188n6
Salon of the King murals (Delacroix), 42, 180
Vernet murals in the Salon de la Paix, 7, 46, 55, 56
See also murals in the Deputies’ Library of the Bourbon Palace (Delacroix)
Brunet, Jacques-Charles, 46
Bryson, Norman, 190n44
Buffon, Georges-Louis Leclerc, Comte de, 121, 190n48
On the Epochs of Nature, 161
Bugeaud, Thomas-Robert, 92–93
Burke, Edmund, 25
Byron, George Gordon, Lord, 20, 29
Carter, James, 198n52
Castagnary, Jules-Antoine, 96–97, 192n4
Catlin, George, 193n23
Cato the Younger, 191n54
Champrosay country home of Delacroix, 24–25, 185–86n34
Charlemagne, 43
Charles VIII (king of France, 1483–1498), 43
Charlet, Nicolas Toussaint, 33
Chasséreau, Théodore, murals in the Stairway of Honor at the Cour des comptes, 7, 189–90n40
Chateaubriand, François-René de, 25, 161
Chenavard, Paul, 32, 33, 38, 59, 150
murals and floor at the Panthéon (proposed), 7, 57–58, 58
Social Palingenesis, or The Philosophy of History, 57, 58
Chinese wallpaper, 36
Christianity, attitude of Delacroix toward, 27, 166, 184n7
Cincinnatus, 44
civilization
coined and defined as term, 7–8
as containing the irrational, 15–16
doubts about progress, development of, 8–9, 197–98n48
ethnographic use of term, 22, 88
and European privilege/supremacy, 6–7, 8, 22–23
exhibitions (world) and focus on, 132–37, 197nn38, 48
individual vs. broad social developments, 28–29
inversion of discourse in light of Algerian colonization, 93, 94
nineteenth-century view of, 6, 7, 28–29, 88
and non-Western social formations, 7
as theme of artworks, generally, 7
views of Delacroix: barbarism as part and parcel of civilization, 20–22, 66, 185nn15–17, 191n54; conquest by barbarians, 20–21, 21; course of civilization, 19–22, 184–85nn10, 12, 14–17; cycles of, 185nn12, 15–16; formulated as a reaction against modernity, 152; great genius as source of, 29, 65, 165–66, 185n32; nature’s laws as governing, 16, 184n4; and progress, rejection of notion of continual process of, 9–11, 19–20, 73, 90; as singular process vs. ethnographic sense of term, 22–23, 88; as tapestry of narratives and knowledge, 176; and true state of nature, 16–19, 184nn6–7. See also barbarism; ennui; modernity; primitivism; progress; release from the here and now
Clark, T. J., 24, 151–52, 185n23, 191n63, 199n10
classical humanist tradition, 29, 73, 186n36
classicism
comparison of Morocco to antiquity, 75, 88–91, 102–5, 108
Delacroix’s understanding of, 63, 186n35
and difficulty of classifying Delacroix, 186n35
Ingres and school of, 60, 73, 150
Claudin, Gustave, 133
Clément de Ris, Louis, 47, 71, 72–73
Clio, 72
Clovis, 43
Comte, Auguste, 8
Concours agricole universel, 135–36
Connelly, Frances, 36
Conrad, Joseph, Heart of Darkness, 111
Cormon, Fernand, mural for the National Museum of Natural History (Paris), 7
Corneille, Pierre, 186n35
Courbet, Gustave, Pavilion of Realism, 135, 199n10
Cournault, Charles, 192n12
Crawford, Thomas, murals in the U.S. Capitol building, 7
critical reception of Delacroix
animal paintings, 126–27
formal effects, focus on, 30
general success with, 151
murals, 47, 49, 69–70, 71–73, 191nn80, 82
North African paintings, 80, 82, 193n20
Crystal Palace (London), 132, 134
Custine, Astolphe de, 23
Cuvier, Georges, 121, 157, 196nn16–17
d’Alembert, Jean le Rond, Encyclopédie, 158
Dante, Alighieri, 29, 45, 63, 65, 191n54
Inferno, 63
Darwin, Charles, 195n11, 196nn17, 24
On the Origin of Species, 120
Daudet, Alphonse, Tartarin de Tarascon, 139–40
Dauzats, Adrien, 95
The Porte d’Alger in Blidah, 95, 97
Decamps, Alexandre-Gabriel, 98, 100, 125, 194n56
Samson Turning the Millstone, 194n56
decorative painting. See formal aspects/effects
Delacroix, Eugène
on art: doubts about modernity and prospects for making of great art, 9–10, 31, 32–34, 58, 59, 186–87n40; ingenious artifice vs. cold exactitude, 147; music as most modern of arts, 147–49, 150
art-historical references in: animal paintings and, 139, 140, 146; murals and, 62, 68–69, 70, 72, 73–74, 129
on beauty, 35, 36, 89, 186n35, 187–88n51
Champrosay country home of, 24–25, 185–86n34
conservative or antisocial perspectives of, 10–11, 24–27, 89–90, 134–37, 152
education of, 29
on equality, 26
and Exposition universelle (1855) commission (Lion Hunt), 113, 124–27, 134–37, 146, 150, 197–98nn32, 38
and Mme de Forget, 197n30
intellectual sources of, 15–16, 29, 185–86nn34–36
investments of, 23
late style of, overview of features in, 147
on liberty, 25–26
library, contents of, 185–86n34
as member of Municipal Council of Paris, 23, 134–35
as member of the Imperial Commission, 134
and narrowness of canon, 29, 186n35–36
“Rome is no longer to be found in Rome”, 89
travel/study trips of, 23, 69, 75, 76–77, 128–29 (see also under North African paintings of Delacroix)
See also Académie des beaux-arts (Academy); antitheses in Delacroix’s art; barbarism; civilization; classicism; critical reception of Delacroix; Delacroix, Eugène: works; ennui; ethnographic painting; formal aspects/effects; grand tradition of European painting; immediate expressivity and imaginative force; modernism; modernity; Orientalist painting; painting; primitivism; progress; Romanticism; spirituality
WORKS:
The Abduction of Rebecca, 1
The Death of Sardanapalus, 1, 15, 30, 82, 83, 100–101, 195n2
“Des variations du beau”, 59–60
The Entry of the Crusaders into Constantinople, 1, 21, 21
The Execution of the Doge Marino Faliero, 1, 20–21
Greece on the Ruins of Missolonghi, 70, 171
The Justice of Trajan, 30
Justinian Drafting His Laws, 164
The Last Words of Marcus Aurelius, 30
Medea About to Kill Her Children, 1, 172, 188n3
Melmoth, or Interior of a Dominican Convent in Madrid, 20–21
Morocco travel article (1843, unpublished), 91–92, 93, 94–95, 101–3, 104, 106–7, 193n29
The Murder of the Bishop of Liège, 1, 195n2
Ovid Among the Scythians (1859), 1–6, 2, 4–5, 153–54, 183n2
Scenes from the Massacre of Chios, 1, 15, 182
Spring: Orpheus and Eurydice, 144–45, 144
Tasso in the Hospital of St. Anna, 2
Winter: Juno and Aeolus, 144–45, 145
See also animal paintings of Delacroix; Journal (Delacroix); murals of Delacroix; North Africa paintings of Delacroix
Delécluze, Etienne, 60, 72, 197–98n48
de Mornay, Charles, 76, 104, 193n30
Demosthenes, 49, 50, 63, 167–68, 174
Descartes, René, 45
de Staël, Madame (Germaine)
Corinne, 156
on painting and music, 12, 148, 152
Destutt de Tracy, Antoine, 8
Encyclopédie, 158
Discord, 71
Djebar, Assia, 193n34
Dubuffet, Jean, 36
Dugas-Montbel, Jean-Baptiste, 34, 200n32
Dumas, Alexandre, 196–97n27
Dumesnil, Alfred, 69–70
Duponchel, Henri, 89
Duranty, Edmond, 96–97
Elias, Norbert, 184–85n10
Engels, Friedrich, 8
Enlightenment
and civilization as progression, 8, 19, 88
generalization and, 190n48
animals as free from and cure for, 16–17, 123, 184n6
civilization as producing, 17, 19, 28, 184n6
painting as antidote to, 38, 152
equality, 26
escape. See release from the here and now
Esquer, Gabriel, 95
ethnographic painting
animal paintings of Delacroix and shift from, 139, 140, 146
critique of, 96–97
general shift to imaginativeness and formal effects from, 98–101, 194–95nn56, 59, 62
North African paintings of Delacroix, 77–83, 84, 103–5, 112, 192nn13–14, 193n17
North African paintings of Delacroix and shift from, 11, 76, 83–88, 98, 100–101, 105–7, 108–11, 193n20
as term, 96
ethnography
civilization as term used in, 22, 88
as term, 193n17
evolution, 120–21, 196nn17, 24
Exposition universelle de 1855 (Paris), 113, 124–27, 132–37, 146, 150, 197–98nn32, 38, 48, 199n10
expressivity. See formal aspects/effects; immediate expressivity and imaginative force; release from the here and now
Fantin-Latour, Henri, 153
Ferguson, Adam, 8
Finlay, Nancy, 122
Flandrin, Hippolyte-Jean, 33, 34, 35
Flaubert, Gustave, Madame Bovary, 199n10
Font-Réaulx, Dominique de, 98
Forget, Mme de, 197n30
formal aspects/effects, Delacroix and focus on
animal paintings and, 114–16, 115–16, 118–19, 125–27, 129–30, 132, 141–46
critical response to, 30
“four seasons” paintings and, 144–45, 144–45
and general shift from ethnographic painting, 98–101, 194–95nn56, 59, 62
immediacy produced by, 30, 146
murals and turn to decorative painting, 62, 65–66, 68, 69–70, 72–74, 150, 191n73
North African paintings and, 82, 84, 87, 98, 100, 101, 108, 110–11, 112
primitivism and, 38–39
as release and escape, 98, 151, 152
Fould, Benoît, 183n2
French colonialism. See Algeria
French revolution, 27
Frère, Charles-Théodore, View of Constantine, 95, 96
Freud, Sigmund, Civilization and Its Discontents, 9, 185n32
Fromentin, Eugène, 98–100, 194–95nn57, 59, 62
Laghouat, 20 June, 9 o’clock, 195n62
Galichon, Émile, 96
Galileo, 45
Gauguin, Paul, 8, 36, 153, 188n61
Gautier, Théophile, 4, 71, 72, 96, 139, 193n20
gender and the civilization/barbarism binary
adventure literature and, 138–39
animal paintings and, 139
gendered nature of, as not consistent, 178, 182
North African paintings and, 103–4, 105–6
Ovid Among the Scythians and, 3, 174
Geoffroy Saint-Hilaire, Étienne, 121, 196nn16–18
Gérard, Jules, 137, 138, 139, 140, 198nn55, 61
Lion Hunting, 137–39
Géricault, Théodore, 29, 33, 196n19
Gérôme, Jean-Léon, 96, 97, 101
Girardin, Émile de, Universal Politics—Orders of the Future, 10
Girodet, Anne-Louis, 158
Goethe, Johann Wolfgang von, Faust, 117
Gorges, Édouard, 133–34, 197–98n48
Gossman, Lionel, 190n48
Gothic sculpture, 35, 187–88n51
Gotlieb, Marc, 58
Gounod, Charles-François, 35
grand tradition of European painting
animal paintings of Delacroix harking to Rubens, 127–30, 128, 130–31, 136, 139, 140, 146
as constraining/disabling, 30–34, 58–62, 186–87n40, 190n44
devotion of Delacroix to, 2, 13, 70, 146
and geniuses who establish traditions, 30–31, 59–60
vs. modernist impulses of Delacroix, 13, 150–51, 152, 153–54
self-image of Delacroix as inheriting and extending, 150
See also Académie des beaux-arts (Academy); classicism; Delacroix, Eugène: art-historical references; Salon
Great Exhibition of 1851 (London), 132–33, 134, 136, 197n38
great-man theory of history
Chenavard and historical moment, 58, 59
and civilization, rise of, 29, 65, 165–66, 185n32
and unimportance of historical context, 59, 65
Greenberg, Clement, 150
Grigsby, Darcy Grimaldo, 193n15
Gros, Antoine-Jean, 33, 58, 192n11
Guizot, François, 8
History of Civilization in Europe, 7, 28–29, 54
Hannoosh, Michèle
on critique of Rousseau, 184n7
discovery of unpublished article by, 91
on distinctions between literature and painting, 38
on engagement with modernity, 23
on Jules Gérard and Delacroix meeting, 198n61
on interrogation of civilization as concept, 51, 60, 66, 102, 181, 183–84n2, 191n54
language of Delacroix referring to spirituality, 12, 183n18
on library decoration, 45
on the Luxembourg Palace murals, 65, 191n76
on the natural history museum, 196n26
on rejection of Chenavard’s theories, 32
Hardouin-Fugier, Élisabeth, 137
Haussmann, Baron Eugène, 23, 135
Hector, 113
Hédouin, Pierre, 197–98n48
Heim, François-Joseph, 46
Herodotus, Histories, 160, 199n6
Theogony, 177
Hesse, Michael, 191n63
history, as creative enterprise, 60–62, 190nn47–48. See also great–man theory of history
history painting, devotion of Delacroix to, 105, 150–51
Homer
Delacroix on, 30–31
as embodiment of tradition, 178, 200n32
as mural subject, 45, 60, 63, 65, 191n54
Odyssey, 200n32
poems of, as subject of Deputies’ Library murals, 42, 173, 173, 177–78, 200n32
poems of, as subject of Luxembourg Palace murals, 62–63, 63, 65
on the Scythians, 3
Horace, Art of Poetry, 180
Hôtel de Ville
courtyard of Louis XIV for Exposition universelle, 135
Delacroix murals, 70–73, 71, 191nn76, 80, 82
Henri Lehmann murals, 7, 55, 57, 57
Houssaye, Arsène, 94
Hume, David, 8
hunting, 19, 184–85n10. See also animals; animal paintings
illusionism
in animal paintings of Delacroix, 141, 146
expression as more important than, 147
as Orientalist painting style, 96, 100, 101
immediate expressivity and imaginative force
overview, 6
animal paintings and, 11–12, 114, 132, 146
formal aspects producing, 30, 146
music and, 147–49
unacademic aspects of Delacroix’s technique and, 30
See also release from the here and now
Impressionism, 96–97, 153, 199n10
Industrial Revolution, 24, 26, 27–28
Ingres, Jean-Auguste-Dominique, 33, 65, 70, 72, 73, 125
Apotheosis of Homer, 60, 61, 65
in classic school, 60, 73, 150
Isaacson, Joel, 141
Jal, August, 88
Japanese prints, 36
Jardin des Plantes, 196n16
Johnson, Dorothy, 186n36
Johnson, Lee, 25, 65, 72, 191n73, 197nn29, 35
Joly, Jules de, Bourbon Palace redesign, 42
Jolyot de Crébillon, Claude Prosper, Le sopha, 102
Journal (Delacroix)
and the crisis of 1850 (Paris), 185n23
language referring to spirituality in, 12, 183n18
lost volume of, 24
natural history and, 121
quotes from, generally, 15, 183n9, 183–84n2
recommenced in 1847, 15, 123, 196n26
and travels, generally, 23
Julius Caesar, 65
July Monarchy (1830–1848)
conservatism of Delacroix and, 24
murals in Deputies’ Library and, 49, 50, 51
political disillusionment of Delacroix and, 50–51
remodeling and decoration of palaces during, 42, 46, 62, 189–90n40
Kaulbach, Wilhelm von, murals in the Neues Museum, 7
Kliman, Eva Twose, 119, 196n18
La Bruyère, Jean de, 185n17
Lamarck, Jean-Baptiste, 120
landscape painting, 4–6, 69, 105, 108, 153–54
Landseer, Sir Edwin Henry, Isaac Van Amburgh and His Animals, 138, 198n54
Langlois, Jean-Charles, 194n49
Lassalle-Bordes, Gustave-Joseph-Marie, 189n19
Aurora on Her Chariot, 68
Lehmann, Henri, murals at the Gallery of Festivities in the Hôtel de Ville, 7, 55, 57, 57
Leonardo, 186n35
Leroux, Pierre, De l’humanité, 184n7
Le Sueur, Eustache, 68
Levilly, Philéad Salvator, 198n54
liberty, 25–26
Library of the Chamber of Deputies. See murals in the Deputies’ Library of the Bourbon Palace (Delacroix)
L’illustration, 15
Linnaeus, Carl, 120
literature
devotion of Delacroix to, 150
painting as superior to, 12, 38, 149
popular adventure literature, 137–39, 140
Livy, 44
History of Rome, 159
Louis-Philippe I (king of France, 1830–1848), 21, 42, 43, 93
Louis XIV (king of France, 1643–1651), 43
Louvre
Delacroix’s Apollo Gallery murals, 2, 62, 66–70, 67–68, 69, 129, 150, 153
Le Brun’s Aurora on Her Chariot, 68
as location, and turn to the decorative, 68, 70
Luxembourg Palace, rebuilding of, 62. See also murals in the Peers’ Library of the Luxembourg Palace (Delacroix)
Lycurgus, 44, 49, 50, 165–66, 178, 197–98n48, 200n23
MacCaulay, Thomas, 8
Magasin pittoresque, 15
Mallarmé, Stéphane, 199n10
Malthus, Thomas, 196n24
Essay on the Principles of Population, 120
Mantz, Paul, 193n20
Marck, Guillaume de la, 195n2
Marilhat, Prosper, 100
Martel, Charles, 42–43
Martin, Henry, 198nn52–54
mass culture. See popular/mass culture
Maurin, N., after a sketch by J. Arago, 141
Mazzini, Giuseppe, 8
Medici, Marie de, 72
medium. See formal aspects/effects
Meissonnier, Ernest, 58
Mephistopheles, 117
Mercey, Frédéric, 197n32
Mercury, 72
Michelangelo, 29, 32, 42, 45, 164, 186n35
Millet, Jean-François, 26
Mill, John Stuart, 8
Minerva, 72
Mirabeau, Victor, 8
modernism
abstraction, 13, 36–38, 100, 146, 150
conservative political and social views and, 152, 153
emergent, 12–13
and flatness, 150
inspiration of Delacroix to, 6, 12–13, 153–54
as manifested partially and unevenly, 13, 152–53, 199n10
music as most modern art, 147–49, 150
vs. narrative/illusion, 12, 149–50
and negation, 13, 73, 111–12, 137, 146, 151–52
vs. tradition, 13, 150–51, 152, 153–54
See also formal aspects/effects; immediate expressivity and imaginative force; originality; release from the here and now; vagueness
modernity
overview, 23
as absent from Orientalist painting, 75
as barbarism, 27
deadening removal from raw experience produced by, 11–12, 16, 20, 34
as devaluing life by making things too easy, 20, 24, 185n14
as displacing nobler ideals, 22
doubts about, and prospects for making of great art, 9–10, 31, 32–34, 58, 59, 186–87n40
elements of both civilization and barbarism contained by, 6, 151
engagement with opportunities of, Delacroix and, 23
and non-Westerners adopting European ways, 103
North African paintings and dissatisfaction with, 75, 89–90, 107–8, 111–12
primitivism as growing directly from, 28, 75
reaction against, views of Delacroix formed as, 152
See also barbarism; release from the here and now
Montaigne, Michel de, 50, 163, 190n48
Essays, 159
Montesquieu, Charles de Secondat, baron de, 8, 15, 190n48
Morocco
and Algerian colonization, 76, 93–95
compared to classical antiquity, 75, 88–91, 102–5, 108
travel of Delacroix to. See under North African paintings of Delacroix
See also Algeria; North African paintings of Delacroix; Orientalism
Mozart, Amadeus, 31
Mras, George, 199n5
murals
of Paul Chenavard (proposed), 7, 57–58, 58
civilization as standard theme of, 7
failed projects, 58
of Henri Lehmann, 7, 55, 57, 57
of Théodore Chasséreau, 7, 189–90n40
progress narratives and, 55, 57–58, 189–90n40
of Horace Vernet, 7, 46, 55, 56
See also murals of Delacroix
murals of Delacroix
overview, 62
art-historical references and, 62, 68–69, 70, 72, 73–74, 129
civilization and barbarism in, 66, 191nn64–64
civilization celebrated in (Luxembourg Palace), 62–63, 65, 191nn51, 54
civilization interrogated as concept in (Deputies’ Library), 51, 54–55, 59, 60, 73, 151
critical reception of, 47, 49, 69–70, 71–73, 191nn80, 82
decorative effects, turn to, 62, 65–66, 68, 69–70, 72–74, 150, 191n73
and release from the here and now, 62, 65
success of Delacroix as mural painter, 58–59, 69–70
WORKS:
Apollo Gallery of the Louvre (Apollo Slaying Python), 2, 62, 66–70, 67–68, 69, 129, 150, 153
Chapel of the Holy Angels in Saint-Sulpice, 30, 74
Library of the Chamber of Peers in the Luxembourg Palace, 46
Salon de la Paix in the Hôtel de Ville (Peace Descends to Earth), 70–73, 71, 191nn76, 80, 82
Salon of the King (Bourbon Palace), 42, 180
See also murals in the Deputies’ Library of the Bourbon Palace (Delacroix); murals in the Peers’ Library of the Luxembourg Palace (Delacroix)
murals in the Deputies’ Library of the Bourbon Palace (Delacroix)
accessibility, 41–42
antitheses in: overview and schematic of, 6, 51, 52–53, 54; detailed interpretation of murals in light of, 156–82, 189n22; increasing valuation of the second term in, 6, 152; as raw material, 59; repetition of motifs in, 54. See also antitheses in Delacroix’s art; gender and the civilization/barbarism binary
architecture of the library, 41, 42
civilization interrogated as concept in, 51, 54–55, 59, 60, 73, 151
critical reception of, 47, 49, 69–70
and history as creative enterprise, 60–62, 190nn47–48
interpretation of paintings, detailed (Appendix), 156–82, 189n22
and library decoration, tradition of, 45
and natural history, 121
order and meaning of, as not clearly established by Delacroix, 47, 49, 156
plan development and original proposal, 42–46, 47, 49, 164, 165, 166, 169, 188n6, 200n22, 200n32
plan, diagram and description of final, 46–47, 48
progress narrative as not present in, 54–55, 62, 66
scholarly commentary on, 49–50, 189nn27, 30
women’s roles as limited in, 54
WORKS:
Alexander and the Poems of Homer, 173, 173
Archimedes Killed by a Soldier, 60, 159, 159, 174, 178, 180
Aristotle Describes the Animals, 157, 157, 174
Attila and His Barbarian Hordes Trample Italy and the Arts, 181–82, 182
The Captivity in Babylon, 47
The Chaldean Shepherds, 46, 47, 49, 69–70, 161, 161, 174
Cicero Accuses Verres Before the Roman People, 50, 167–68, 167
The Death of John the Baptist, 170, 170, 178
The Death of Pliny the Elder, 156, 156, 180
The Death of Seneca, 162, 162, 178, 180, 199n14
Demosthenes Haranguing the Sea Waves, 50, 167–68, 167, 174
The Education of Achilles, 46, 47, 49, 175–76, 175, 178, 200n30
The Expulsion of Adam and Eve, 47, 171, 171, 178
Herodotus Consults the Magians, 160, 160, 199n6
Hesiod and the Muse, 177–78, 177, 182
Hippocrates Refusing the Gifts of Artaxerxes, 50, 158, 158
Lycurgus Consults the Pythia, 165–66, 165, 178, 197–98n48, 200n23
Numa and Egeria, 50, 164, 164, 178, 182
Orpheus Civilizes the Greeks, 179–80, 179, 181–82
Ovid Among the Scythians, 174, 174, 178, 180
Socrates and His Daemon, 162, 163, 163, 178, 182
The Tribute Money, 49, 169, 169
murals in the Peers’ Library of the Luxembourg Palace (Delacroix), 62–66, 63–64
Alexander Preserving the Poems of Homer, 62–63, 63
Dante and the Spirits of the Great, 63, 64, 65–66
Napoleonic tradition (Bonapartism), 25, 43, 44, 95
Napoleon III (emperor of the Second French Empire, 1852–1870), 25, 72
Native Americans, 18–19, 18, 193n23
naturalism
Antoine Barye and, 117–18
Delacroix and animal paintings, 114
nature
civilization as governed by laws of, 16, 184n4
culture/nature as most common antithesis in Delacroix, 59
as escape from here and now, 123
as increasingly important to Delacroix, 153–54
and landscape painting, 4–6
See also animals; primitivism
Neptune, 72
Neues Museum (Berlin), 7
Newton, Isaac, 45
Nochlin, Linda, 100–101
North Africa, decorative arts of, 19, 36. See also Algeria; Morocco; North African paintings of Delacroix; Orientalism
North African paintings of Delacroix
overview, 75–76
and ambivalence of Delacroix, 101–2
and civilization, lens of, 88
critical reception of, 80, 82, 193n20
and detail, omission of, 106–7
early (1820s), 76, 82–84, 100–101
ethnographic nature of, 77–83, 84, 103–5, 112, 192nn13–14, 193n17
and ethnography, shift to imaginativeness from, 11, 76, 83–88, 98, 100–101, 105–7, 108–11, 193n20
and formal effects, turn to, 82, 84, 87, 98, 100, 101, 108, 110–11, 112
and freedom from constraint, 11, 151
gendered nature of, 103–4, 105–6
hunt pictures as part of, 86–87
and modernity, dissatisfaction with, 75, 89–90, 107–8, 111–12
Orientalism and, 75–76, 78–79, 82, 88–89, 90, 96, 97–98, 100–101, 111, 192nn11, 13, 193n15
primitive mode of existence compared to classical antiquity, 75, 88–91, 102–5, 108
and primitivist vision of North Africa, selective, 98, 107–8
and release from the here and now, 76, 98, 100–101, 105, 111–12, 129, 151
travel accounts of Morocco (1832) and, 75, 76–77, 78–79, 88–90, 92, 192nn11–12, 193n30
travel notes and sketches, later canvases departing from strict adherence to, 84, 86, 93, 101, 108
travel, unpublished article written ten years after, 91–92, 93, 94–95, 101–3, 104, 106–7, 193n29
WORKS:
Arab Chief near a Tomb, 80, 82
Arab Horses Fighting in a Stable, 83, 85
Arabs Skirmishing in the Mountains, 86, 108, 109–11, 110
The Caïd, Moroccan Chief, 80
Costumes of Morocco, 80
Costumes of the Kingdom of Morocco, 80
The Edge of the River Sebou, 193n20
Encampment of Arab Mule Drivers, 80, 82
The Fanatics of Tangier, 80, 81, 193n15
Horses Coming out of the Sea, 110–11, 112, 195n76
Interior of a Courtyard in Morocco, 80
Interior of a Guardroom with Moorish Soldiers, 80
Jewish Family, 80
Jewish Wedding, 80, 81, 82–83, 193n15
A Moroccan and His Horse, 105, 106
A Moroccan Caïd Receiving Tribute, 103–5, 104
Moroccan Troops Fording a River, 86, 87
The Riding Lesson, 84
A Street in Meknes, 80
Study of a Harnessed Horse, 77, 77
Study of Arab Horse Riders, 77–78, 79
Study of a Seated Arab, 77, 78
The Sultan Abd er Rahman, 93–94, 94, 104
View of Tangier from the Seashore, 83, 85, 105, 108
Women of Algiers in Their Apartment, 79–80, 80, 82, 97, 193n15
Northcote, James, 196n19
Numa, 49, 50, 164, 165, 178, 182
Olmstead, Jennifer, 93, 94, 104
Orientalism
popular images and mass culture of, 95, 97, 139–40
See also Orientalist painting
Orientalist painting
as both genre and school, 76
and consolidation of colonialization of Algeria, 95–96, 194n49
critiques and mockery of, 96–97, 100–101, 111, 139–40
and “ethnographic painting” as term, 96–97
and ethnographic style, general turn from, 98–101, 194–95nn56, 59, 62
French colonialism and diminished potential in, 94–96, 194n50
illusionistic style in, 96, 100, 101
military iconography of, 95
modernity as absent from, 75
number of pictures in the Salon, 95, 194n48
popular culture and, 95, 97, 139–40
standard repertoire of, 103
as term, nineteenth-century art history and, 76, 89, 100, 192n4
See also Orientalist painting of Delacroix
Orientalist painting of Delacroix
becoming a primitivist paean, 151
diminished potential for, 94–95, 96, 97–98, 111, 194n50
modernity as absent from, 75
and North African paintings, 75–76, 78–79, 82, 88–89, 90, 96, 97–98, 100–101, 111, 192nn11, 13, 193n15
originality
as not beholden to past or present, 65
primitivism and, 34, 35–36, 59–60
Orpheus, 46–47, 49, 59, 65, 144, 179–80, 181
Ovid, 1–6, 2, 4–5, 47, 59, 153–54, 174, 174, 178, 180, 183n2
painting
bridge simile for, 37, 38, 147
immaterial effect on the viewer, 12, 147
pleasure of viewing, 149
primitive, Delacroix on, 35
qualities of, generally, 12, 149, 199n5
as superior to literature, 12, 38, 149
vagueness of, 12, 70, 148, 191n74
See also formal aspects/effects; immediate expressivity and imaginative force; modernism; release from the here and now
Palais-Royal, damage done by revolutions of 1848, 25
Panofsky, Erwin, 49
Peisse, Louis, 37
Persian miniatures, 36
Petrarch, 44
philanthropy, Delacroix’s rejection of, 10–11
Philippoteaux, Félix, Moorish Women of Algiers in Their Apartment, 95, 97
Phocion, 44
Pierret, Jean-Baptiste, 198n52
Planche, Gustave, 71, 72, 73, 191nn80, 82
Plato, Republic, 175
Plutarch, 44, 50, 54, 159, 161, 163, 165, 176, 200n23
Poirel, Victor, 192n12
popular/mass culture
and animal paintings of Delacroix, 137–40, 146, 198nn52–54, 61
ferocious animals in, 137–39, 198nn52–54
and Romanticism, 140
world exhibitions as focusing on, 132–33, 197n38
Porterfield, Todd, 192n13, 193n17
Potts, Alex, 121
Pouillon, François, 192n14
primitive painting, Delacroix on, 35
primitivism
of Baudelaire, 28
and modernism as rupture, 188n61
non-European art, 36
Strabo and, 3
See also primitivism of Delacroix
primitivism of Delacroix
and chivalric romances, 104–5
enlightened public and, 34–35
ennui as product of civilization and embrace of, 28
and freedom from constraint, 35
as growing directly from dissatisfaction with modernity, 28, 75
limited capacity to appreciate non-European art, 36–38
and Morocco compared to classical antiquity, 75, 88–91, 102–5, 108
and Native Americans, 193n23
and originality, problem of, 34, 35–36, 59–60
Ovid Among the Scythians and, 3–4
and taste, 35
traditional subject matter never abandoned despite, 153
See also formal aspects/effects
Prochaska, David, 193n37
progress
in art, and devotion to tradition, 151
civilization as process of, 8, 11, 22–23
doubts about civilization as process of, generally, 8–9, 197–98n48
murals in general, and narratives of, 55, 57–58, 189–90n40
murals of Deputies’ Library (Delacroix) and lack of narrative of, 54–55, 62, 66
rejection of, and Delacroix’s conservative and/or antisocial views, 10–11, 24–27, 89–90, 134–37, 152
world exhibitions and focus on, 132–37, 197nn38, 48
See also barbarism; civilization
Protestantism, 27
Prud’hon, Pierre-Paul, 33
Puget, Pierre, 29
Pythagorus, 45
Querelles, Hortense de, 129
Quincy, Quatremère de, 38
Racine, Jean, 186n35
Raphael
allusions to, in murals, 42, 60, 65
as decorating the halls of power, 42
Delacroix on, 29, 32, 33, 59, 186n35
as mural subject, 45
Parnassus, 65
Redon, Odilon, 153
release from the here and now
animal paintings and, 123–24, 129, 132, 146, 151
barbarism as source of, 6
despite materiality of painting, 12, 149, 198–99n3
and formal aspects/effects, 98, 151, 152
the grand tradition as, 150
as inherent quality of painting, 37–39
nature as, 123
North African paintings and, 76, 98, 100–101, 105, 111–12, 129, 151
sensuality as producing, 12
and shift from ethnographic painting, 98, 100
Rembrandt van Rijn, 60, 186n35, 194n56
Renou, Antoine, 68
revolutions of 1848
and barbarism as part and parcel of civilization, 20
reactionary strain of thought in Delacroix and, 24–26, 27
Revue britannique, 15–16
Revue de l’exposition, 197–98n48
Revue de Paris, 15
Revue des deux mondes, 15
Revue des principaux tableaux, 197–98n48
Ribner, Jonathan, 49, 50, 189n30
Riesener, Léon, 62
Rivet, Jean-Charles, 42
Robaut, Alfred, 195n11
Romanticism
animals as metaphor for inspiration, 123
Delacroix’s defense of, 36
difficulty of classifying Delacroix and, 186n35
erroneous classification of Delacroix in, 73
popular culture and, 140
social conflict compared to struggles between animals, 122
Ronchaud, Louis de, 47
Roqueplan, Camille, 62
Rousseau, Jean-Jacques
civilization, corruption of, 20
critique by Delacroix, 17–18, 171, 184n7, 284n7
and humanist discourse, 50
mocking of, 34
Rubens, Peter Paul
admiration of Delacroix for, 29, 30, 32, 34, 60, 128–29, 186n35, 192n11
copies after, by Delacroix, 128–30, 130, 197n35
as decorating the halls of power, 42
quotations by Delacroix, 60, 69, 72, 86, 127–28, 139, 140, 146, 150, 162
sensuality in art of, 12
study trip of Delacroix, 69, 128–29
as subject of mural, 45
WORKS:
Conclusion of the Peace, 72
Hippopotamus and Crocodile Hunt (print), 129–30, 131
Lion Hunt, ca. 1640 (print), 129–30, 131
Lion Hunt, late 16th–early 17th c. (print), 127–28, 128
Miracles of Saint Benedict, 128
Reconciliation of Marie de Medicis and Her Son, 69
Saint Augustine, 44
Saint Basil, 44
Saint Jean Chrysostom, 44
Saint Paul, 169
Saint-Simon, Henri de, 8, 10, 24, 89
Salon
of 1830, 114
of 1833, 80
of 1834, 79–80
of 1838, 80
of 1841, 80
of 1847, 194n56
animal paintings as departure from, 146
devotion of Delacroix to, 151
Orientalist paintings in, number of, 95, 194n48
See also Académie des beaux-arts (Academy)
Salon des Refusés, 199n10
Sand, George, 121
Sappho, 63
Say, Jean-Baptiste, 8
scroll, as symbol, 3, 54, 159, 162, 174, 180, 181, 199n14
quotation of antiquities, 63
Scythians, 2–3, 4–6, 59, 174, 174, 178
Senancour, Etienne Pivert de, 148
sensuality of painting
and civilization, 12
illusions vs., 147
See also formal aspects/effects; release from the here and now
sexual passions
and abject victimization of women’s bodies, 181–82
animal paintings and, 196–97n27
Shakespeare, William, 29, 59, 186n35
Signac, Paul, 153
Smith, Adam, 8
Society of Algerian and Orientalist Artists, 76
Society of French Orientalist Painters, 76
Socrates, 44, 162, 163, 178, 182
Apology, 163
Symposium, 163
Soutman, Pieter Claesz, 131
spirituality
and the decorative, turn to, 69–70
language referring to, in journal of Delacroix, 12, 183n18
loss of, and modernity, 27
See also release from the here and now
Starobinski, Jean, 28
Stendhal (nom de plume of Henri Beyle), 152, 196n16
Stoicism, 54, 91–92, 102, 103, 162, 178
Strabo, Geography, 3
Stubbs, George, 196n19
Cheetah with Two Indian Attendants and a Stag, 198n54
Horse Attacked by a Lion, 120, 121
Annals of Imperial Rome, 162
Taine, Hippolyte, 119
Tasso, Torquato, 29
Taylor, Baron Isidore, Voyages pittoresques et romantiques dans l’ancienne France, 194n49
Thiers, Adolphe, 50
Third Republic, 153
Thucydides, 45
Tobit, 169
Tocqueville, Alexis de, 93
tradition. See Académie des beaux-arts (Academy); classicism; grand tradition of European painting; great-man theory of history; illusionism; Salon
transporting qualities of art. See release from the here and now
Tuileries Palace, 25
Turgot, Anne-Robert-Jacques, 8
Turkey, 103
Ukiyo-e prints, 115
United States, as colonial precedent, 93
vagueness
of music, 148
of painting, 12, 70, 148, 191n74
Van Amburgh, Isaac, 138, 198n53, 198n54
van Gogh, Vincent, 153
murals in the Salon de la Paix in the Bourbon Palace, 7, 46, 55, 56
paintings for Museum of History at Versailles, 95
WORKS:
The Genius of Steam on Earth, 55, 56
Peace Enthroned Before Paris, 55, 56
Steam Putting to Flight the Sea Gods, 55, 56
Veronese, Paolo
Delacroix on, 33
Delacroix’s admiration for, 29, 60, 65, 69, 186n35, 192n11
Delacroix’s quotation of, 72
Respect, 72
Versailles
Delacroix painting in Room of the Crusades, 1, 21, 21
Vernet paintings in, 95
Vico, Giambattista
Scienza nuova seconda, 49, 189n27
Victory, 69
Villot, Jean-Marie, 89
Voltaire, 15, 186–87n40, 190n48
Vulcan, 69
Ward, James, 196n19
Lion and Tiger Fighting, 120, 121
Wind, Edgar, 49
women, limited roles of
in Deputies’ Library murals, 54
in later North African paintings, 105
See also gender and the civilization/barbarism binary; sexual passions
World War I, 9
Wright, Beth, 190nn47–48
Zarobell, John, 94
Zerner, Henri, 65
Zola, Émile, 96–97