DELACROIX. FROM A PORTRAIT PAINTED BY HIMSELF IN 1837.
This portrait was left by the painter at his death to Mlle. Jenny Leguillon, his housekeeper, and by her was bequeathed to the Louvre in 1872.
Géricault received a recompense of the fourth class, and, disgusted with his lot, took the immense canvas to London, where it was exhibited with success. During his sojourn in England he executed a number of pictures in oil and water color, and many lithographs, which are to-day eagerly sought by collectors. Returning to France full of projects for work, his health began to give way, and on the 18th of January, 1824, he died. The influence which he exercised had, however, borne its fruits. Already in the Salon of 1822 Ferdinand Victor Eugène Delacroix, born at Charenton, near Paris, April 26, 1799, had shown his "Dante and Virgil."
Before considering Delacroix, however, it is best to return to the earlier years of the century, and give J. Dominique Auguste Ingres, whose stern face confronts Delacroix's portrait, the precedence to which his age entitles him.
"Monsieur" Ingres, as the iconoclastic leaders of the romantic school called him in mock deference, was born at Montauban, August 29, 1780. His life was fortunate, and his history, which is chiefly that of his works, can be told in few words. A pupil of David, he received the Prix de Rome in 1801. He remained in Rome much longer than the allotted four years to which his prize entitled him, and returned there often during his life as to the source of all art. By portraiture and the constant patronage of the government, the material conditions of his life, which was of a simple character, befitting a man who viewed his mission as that of an apostle preaching the doctrine of pure classicism, were made easy; and the official titles of Member of the Institute, Grand Officer of the Legion of Honor, and Senator of the Empire all came to him with the lapse of years.
More royalist than the king, and the last of David's disciples, Ingres pursued throughout his life the even tenor of a man convinced that the source of all inspiration in art was Greek sculpture as amplified, transmuted, and translated to the realm of painting by Raphael. Painting in his hands became almost purely a matter of form. The element of color was virtually ignored, and form, chastened in contour and modelling, became through the magic of his genius the almost sufficient quality. The qualification is necessary. For though too great a man to lose, as too many of his master's pupils did, the grasp on nature; and while, therefore, his works, seen as they are through the glamour of the antique, never lack an intimate relation to existing life, it is impossible to resist the feeling before them that it is life beautified, of exquisite yet virile choice, but of life arrested. The reproach of his opponents of the romantic school that he was an "embalmer" has a foundation of truth.
A PORTRAIT OF INGRES, DRAWN IN ROME IN 1816.
This lovely drawing, from the collection in the Louvre, shows Ingres in his most pleasing aspect. By the magic of a few lines faintly traced, he has evoked for us the image of a charming person; and by the slight indication of costume, has also fixed the epoch at which the drawing was made. It was in the earlier years of the master, while he was in Rome, that he drew many such little masterpieces as a means of livelihood, drawings which he then made for a few francs, and which are now eagerly sought by the museums of Europe.