DELACROIX’S ORIENTAL PICTURES
Delacroix’s journey to Morocco, with Count Morney’s mission in 1832, was of the greatest benefit to the artist’s progress as a colourist. although he had no time during his travels to paint any pictures, he brought back with him a wealth of rapid sketches which, with his vivid recollections of Eastern life and colour, led to the production of such masterpieces as the Algerian Women in their Apartment (No. 210), the Jewish Wedding in Morocco (No. 211), and The Entry of the Crusaders into Constantinople (No. 213). In the sumptuous scheme of Crusaders the last traces of the influence of Gros’s colourless palette have vanished. The picture was commissioned by Louis Philippe for the Château at Versailles, the remuneration being fixed at £400. A copy of the picture is in one of the Salles des Croisades at Versailles, and a small sketch is at Chantilly. The Algerian Women is particularly remarkable for the luminous sparkle of rich pigment through the ambient of silvery atmosphere.
Among Delacroix’s masterpieces must be counted the Portrait of the Artist (No. 214), which he left on his death to his servant, Jenny le Guillon, stipulating that she should give it to the Louvre on the day of the restoration of the Orléans family—an event which never happened, though the picture reached its destination in 1872 through the generosity of Mme. Durien. The Shipwreck of Don Juan (No. 212), painted in 1840, is based on Lord Byron’s epic poem, of which it is, however, by no means a literal illustration. It is one of the most stirring renderings of human passion and despair in the whole history of art, the livid light and general sombre scheme of colour contributing towards the tragic effect, as though Nature herself were entering into the mood of the horrible scene.
Although, on the whole, an unsatisfactory picture, Delacroix’s Roger delivering Angelica (No. 2845) may serve to illustrate the true significance of his art in its relation to the official school, as there is in the same collection another rendering of the identical subject (No. 419) by his great antagonist Ingres, the greatest draughtsman of his century, and the acknowledged leader of the Classicist school. Comparison between the two works will show that Delacroix’s version, with all its obvious imperfections, far surpasses Ingres’s in emotional intensity and fierce vitality. The academic perfection and exquisite finish of Ingres’s picture only accentuate the dulness and lifelessness of his conception.
PLATE XLVII.—FERDINAND VICTOR EUGÈNE DELACROIX
(1798–1863)
No. 207.—DANTE AND VIRGIL
(Dante et Virgile aux Enfers)
In a boat, steered by Charon across the river Styx, Virgil, laurel-crowned and dressed in a red cloak, holds with his right hand the left hand of Dante, who, in a blue cloak with a red hood, raises his right arm in a gesture of horror at the sight of the Damned, who, half-buried in the turbulent waters, cling despairingly to the sides of the boat. In the background are seen the towers of the burning city of Dite.
Signed:—“eugène delacroix.”
Painted in oil on canvas.
5 ft. 11 in. × 7 ft. 10½ in. (1·80 × 2·40.)