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Tom Gurney BSc (Hons) is an art history expert with over 20 years experience
Published on June 19, 2020 / Updated on October 30, 2026
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Eugène Delacroix: Paintings, Colour and Imagination: Introduction

Eugène Delacroix (1798–1863), the French artist and major Romantic painter, made pictures in which an idea becomes a physical encounter: a crowd advances, a horse recoils, a body yields, or a small group gathers in an immense landscape.[1] His subjects range from revolution and contemporary suffering to poetry, religious struggle and hospitality. Across that range, colour does more than enrich the surface. It establishes connections between people and things, separates a figure from its surroundings, and gives the eye a route through an event.

The excitement of a Delacroix painting can make it seem to have happened all at once. Looking longer reveals decisions about intervals, contrasts and direction. A bright flag stands above a dense crowd; a red bed carries the eye diagonally across a scene of destruction; cool water holds the background apart from a quiet gathering. The relationship between an expressive gesture and the space around it matters as much as the gesture itself.

Delacroix's own writing helps explain why visual pleasure and thought need to be considered together. In his Journal on 22 June 1863, he placed the eye's enjoyment first among a painting's merits, then immediately insisted that reason remained necessary.[2] In the entry for 18 July 1850, responding to Mme Cavé, he described the material picture as a bridge between the minds of painter and spectator.[3] These observations offer a way into his art without reducing individual paintings to illustrations of a theory. What the spectator feels depends on something made: a distribution of light, a relationship of colours, a pose, a gap.

To follow those choices across his career is to discover more than a succession of celebrated canvases. The crowded tragedies sharpen our understanding of the spacious late landscapes. The black and white prints test effects that cannot be explained by colour alone. Public decorations show the demands of architecture and sustained collaborative labour. Together, they reveal an artist continually finding different forms for the encounter between a subject and its viewer.

Watch: Eugene Delacroix Paintings

A short visual introduction from TheHistoryOfArt.

TheHistoryOfArt. A slideshow of paintings by Delacroix, including Liberty Leading the People. Watch on YouTube.

At a Glance

  • ArtistEugène Delacroix, 1798–1863 [1]
  • SubjectsHistory, literature, travel and public decoration [4][5][6]
  • WritingsJournal entries and correspondence [7]
  • Artistic afterlifeSpecific copies and reinterpretations by later painters [8]

Delacroix’s artistic connections

Teachers, admired predecessors, English encounters and later responses explain different kinds of artistic relationship.

  • Pierre Narcisse Guérin: Guérin’s teaching remained part of Delacroix’s formation despite their later differences. Their relationship complicates a clean break between academic training and Romantic invention. [9]
  • Théodore Géricault: Delacroix saw The Raft of the Medusa taking shape and posed for it. Géricault’s example helped bring his ambitions as a painter into focus. [9]
  • Peter Paul Rubens: The older colourist provided a touchstone for admiration: Delacroix later recalled Gros praising The Barque of Dante through a comparison with Rubens. This records an artistic model, not a personal encounter. [9]
  • Thomas Lawrence: Delacroix met Lawrence in London in 1825. The portrait of Schwiter adapts the English painter’s outdoor setting and attention to a sitter’s mood. [10]
  • Michelangelo: In his journal entry of 3 September 1822, Delacroix recorded copying Michelangelo. Copying offered a practical encounter with an earlier artist’s invention. [11]
  • Édouard Manet: Manet copied The Barque of Dante. The National Gallery’s 2016 exhibition used this concrete act of study to explore Delacroix’s later reception. [12]
  • Pierre-Auguste Renoir: Renoir made a copy of Jewish Wedding in Morocco, another work brought into the National Gallery’s account of Delacroix’s influence. [12]
  • Vincent van Gogh: Van Gogh’s Pietà after Delacroix transformed a printed intermediary into colour. The Vatican’s smaller version remains distinct from the larger painting in Amsterdam. [13]

Eugène Delacroix in context

Approximate years
175017801810184018701900

Neoclassicism

Later eighteenth century; continuing legacy [14]

Romanticism

About 1800–1850 [15]

Orientalism

Nineteenth century [16]

Eugène Delacroix

1798–1863 [17]
Lifetimes
176017841808183218561880

J. M. W. Turner

1775–1851 [18]

John Constable

1776–1837 [19]

Théodore Géricault

1791–1824 [15]

Eugène Delacroix

1798–1863 [17]

Théodore Chassériau

1819–1856 [16]

Contents

  1. Tragedy without a single heroic answer
  2. Liberty advances over the dead
  3. Travel, memory and the making of a scene
  4. Literature in black and white
  5. Painting for buildings and public life
  6. A late landscape makes room for hospitality
  7. An inheritance made through looking and remaking
  8. Portraits, animals and flowers
  9. Choosing where to look next
  10. Annotated details

Tragedy without a single heroic answer

Delacroix's early public career brought literature and recent history into the arena of large exhibition painting. His Barque of Dante, painted in 1822, appeared at that year's Salon and was purchased there by the royal museums for 2,000 francs.[4] The title directs us towards Dante's imagined world. Literature offered Delacroix people and situations to transform into pictures; it was a relationship across time, not a personal acquaintance with the writer.

Two years later, Massacre at Chios brought suffering into a different register. The Louvre dates the canvas to January–July 1824 and records its exhibition at the Salon that year, followed by purchase for 6,000 francs. Its fuller title identifies Greek families awaiting death or enslavement.[29] The human predicament is already present before we attempt to follow every action.

In the foreground, bodies lean against one another, sit heavily or collapse. The eye meets bare skin, bent limbs and faces turned in different directions. There is no confident central figure who gathers these people into a successful resistance. At the right, the mounted man and his horse rise above them, giving the composition an abrupt inequality of height and power. Beyond this crowded strip of vulnerable people, the landscape opens towards a distant horizon under an enormous sky.

That openness is disturbing. It offers room for the eye to travel, but no obvious route of escape for the figures nearest us. The foreground is close enough to make their exhaustion uncomfortable; the background is too extensive to be possessed by any one person's story. Delacroix brings the viewer near to suffering while withholding the satisfaction of a single decisive deed. The picture's force lies partly in this mismatch between the scale of the world and the restricted possibilities of the people within it.

The arrangement changes dramatically in The Death of Sardanapalus. The large Louvre painting was made in 1827 and exhibited during the final months of the Salon in 1828. The accompanying narrative described the besieged king ordering the destruction of those who had served his pleasures. Delacroix retained the unsold canvas until 1846.[30]

Here a red bed thrusts diagonally out from the upper left into a turmoil of bodies, fabric, metal and animal movement. The reclining king appears unusually still. Around and below him, figures twist, reach, restrain and fall. A horse's head presses into the lower left, while the brightly lit body of a woman draws attention towards the violence at the lower right. Dark areas around the perimeter make these illuminated passages feel exposed rather than secure.

The bed provides a strong organising line, but the actions refuse to resolve into a calm procession. Looking becomes a succession of encounters. One patch of light catches a shoulder; another picks out a piece of ornament or a fold of cloth. The richness that attracts the eye belongs to the same world as the coercion and destruction. Pleasure in the arrangement cannot easily be separated from horror at what it contains.

Chios and Sardanapalus therefore offer two distinct experiences of collective disaster. In one, a broad distance opens behind a largely immobilised foreground. In the other, a diagonal structure presses many separate acts into a crowded interior. Romantic intensity emerges through these differences of construction. It does not require every painting to share one turbulent formula.

The public history is also more complicated than the image of an artist simply rejected by official France. Criticism and patronage coexisted. The purchases of the Dante and Chios paintings contrast with the long delay before Sardanapalus found a buyer. Delacroix's career developed through that uneven relationship with exhibition, judgement and institutional support.

Scenes from the Massacres at Chios, 1824. Musée du Louvre; INV 3823. A crowded foreground lies beneath an expansive sky.
Scenes from the Massacres at Chios, 1824. Musée du Louvre; INV 3823. A crowded foreground lies beneath an expansive sky. Image source. Public domain.

The Death of Sardanapalus, 1827; Salon of 1828. Musée du Louvre; RF 2346. The red bed carries a diagonal through the surrounding violence.
The Death of Sardanapalus, 1827; Salon of 1828. Musée du Louvre; RF 2346. The red bed carries a diagonal through the surrounding violence. Image source. CC0 / Public domain.

Four stages of Eugène Delacroix’s career

Four editorial stages organise this guide. Their boundaries overlap; they are not a universal scholarly division of Delacroix’s career.

1815–24

An independent path from studio training

Guérin’s studio gave Delacroix a sustained grounding in the figure. Géricault’s example and the impact of The Barque of Dante and Chios helped turn that training into an ambitious public career. [9]

Barque of Dante by Eugène Delacroix
Massacre at Chios by Eugène Delacroix
1825–31

New models for colour and storytelling

During the English journey of 1825, Delacroix met Lawrence. His portrait of Schwiter draws on English portraiture; his admiration for Byron also made literary imagination a powerful resource. [10]

Louis-Auguste Schwiter, 1826–30, oil on canvas. The National Gallery, London; NG 3286.
Death of Sardanapalus by Eugène Delacroix
1832–54

North African memories and public decoration

North African travel in 1832 supplied lasting subjects. Public commissions from 1833 enlarged the architectural scale of Delacroix’s work alongside his easel paintings. [12]

Women of Algiers by Eugène Delacroix
Moulay Abd-er-Rahman, Sultan of Morocco, 1845, oil on canvas. Musée des Augustins, Toulouse; 2004 1 99.
1855–63

Recognition and renewed invention

The 1855 retrospective and election to the Institut in 1857 marked official recognition. Delacroix continued to transform familiar subjects and completed the Saint-Sulpice chapel paintings in 1861, sustaining invention into his final years. [9]

Jacob Wrestling with the Angel by Eugène Delacroix
Ovid among the Scythians, 1859, oil on canvas. The National Gallery, London; NG6262.

Liberty advances over the dead

Liberty Leading the People brings a collective action into a more concentrated shape. Delacroix painted it between September and December 1830 in response to the July Revolution of that year, not the Revolution of 1789. It appeared at the Salon of 1831, and its first state purchase was for 3,000 francs.[31]

At the centre, Liberty carries the tricolour above her head and steps towards the spectator. She is an allegorical presence among people in contemporary clothing. Her bare feet and exposed upper body distinguish her from the armed figures around her, yet the forward movement of her legs belongs to the same difficult ground they must cross. The picture makes an abstract political idea physically active.

The composition rises towards the flag. Bodies and rubble spread across the bottom, living figures gather above them, and Liberty's raised arm carries the movement upwards. This broad pyramidal structure makes the crowd legible at a glance. Within it, however, people look and move in different ways. The man in the top hat grips his gun and turns towards Liberty. The figure in a loose shirt at the left adds another silhouette and another kind of dress. The armed boy at the right strides forward with a startling independence. Worker, student and youthful fighter become parts of a collective image without losing all their differences.

The flag's red, white and blue stand against smoke and pale sky. Lower down, areas of clothing repeat those colours in less commanding forms. The effect binds the elevated emblem to the human gathering beneath it. Colour makes a connection across the picture before the viewer has identified every face or weapon. The flag is both a recognisable national sign and a broad, irregular shape that pulls attention above the dense middle of the canvas.

Yet the upward movement begins among the dead. A partly undressed body stretches across the lower left; another lies towards the right amid clothing and equipment. Their weight and horizontal position resist the advance of those above them. They make the foreground something more consequential than a platform for a triumphant group. Liberty can step forward, but the people who lie beneath her cannot participate in that future.

This is where the painting's structure becomes especially powerful. The eye can rise quickly to the flag and read the scene as an image of victory. It can also return to the bottom and encounter the cost on which that ascent rests. Neither movement cancels the other. The picture sustains the exhilaration of collective action alongside the irreversibility of death.

Far to the right, the towers of Notre-Dame emerge through the distance. They give a Parisian setting to a scene whose central figure belongs to allegory. Nearby faces are large and urgent; the city is remote and partly obscured. Delacroix joins the scale of the street to the scale of an event that might represent a nation.

The group does not need to be treated as a securely identified roll call to be meaningful. In particular, the armed man in the top hat should not automatically become a literal portrait of Delacroix fighting on the barricades. Clothing, position and gesture already supply much of the painting's argument. What matters most is how different figures gather around Liberty, and how the apparent unity of their advance remains shadowed by the disunity of their possible fates.

Liberty Leading the People, 1830. Musée du Louvre; RF 129. The advancing group rises above fallen bodies. This reproduction predates the 2024 restoration.
Liberty Leading the People, 1830. Musée du Louvre; RF 129. The advancing group rises above fallen bodies. This reproduction predates the 2024 restoration. Image source. Public domain.

Travel, memory and the making of a scene

Delacroix's journey to Morocco in 1832 belonged to a diplomatic mission, following France's invasion of Algeria in 1830. The Metropolitan Museum's brown ink Study for The Sultan of Morocco and His Entourage, dated 1832–33, includes the French representative Charles de Mornay and an interpreter among the participants.[5] This political setting matters. The journey was more than an artist's independent search for new scenery.

The Morocco paintings and studies invite attention to the passage from an encounter to a later image. A study can preserve a particular arrangement or help an artist reconsider it. A finished painting can select, enlarge and redistribute that material. The intervening work is part of the picture's meaning, especially when the resulting scene seems to promise immediate access to another society.

The Louvre's Women of Algiers is a canvas of 1834, made after the journey.[25] Its relationship to travel does not make it a transparent record of a room at a single moment. It is a constructed, retrospective interior. The distinction allows us to value the painting while asking how an experience has been turned into an image for viewers elsewhere. A painted interior gives access to Delacroix's arrangement of a subject; it cannot by itself establish the ordinary experience of everyone whose world it appears to show.

The much later Sultan of Morocco, completed in 1845, makes that process of selection particularly clear. The Toulouse canvas measures 384 × 344 centimetres and was shown at the Salon of 1845.[32] Its scale gives the ruler and his attendants a commanding presence. The French delegation found in the earlier study is absent from the finished painting.[5] That change is significant, although the omission alone does not establish Delacroix's political motive.

The sultan's white clothing creates a broad light shape just left of centre, above the grey horse whose head occupies the lower middle. A large parasol rises over the ruler. Around him, clustered figures and upright weapons repeat across the composition. The strong verticals of the guard contrast with the animal's lowered head and the more irregular outlines of the foreground attendants.

Behind the gathering, an ochre wall cuts across the picture beneath a large expanse of blue sky. The contrast makes the crowd seem both dense and exposed to daylight. Rather than dissolving the figures into a continuous spectacle of colour, Delacroix gives the eye several clear bearings: the white robe, the horse, the parasol, the gateway and the line of weapons. Authority is visible through placement and differentiation.

Such details do not prove that the people represented belonged to an unchanging world outside history. They are features of a particular image made from a particular encounter and reconsidered over time. Reading travel through memory and composition keeps both sides of the work in view: the specificity of things seen and the artist's power to recast them.

The Sultan of Morocco, 1845, oil on canvas. Musée des Augustins, Toulouse; 2004 1 99. The ruler, parasol and ranks stand against wall and sky.
The Sultan of Morocco, 1845, oil on canvas. Musée des Augustins, Toulouse; 2004 1 99. The ruler, parasol and ranks stand against wall and sky. Didier Descouens, 26 November 2017, via Wikimedia Commons; Musée des Augustins. Image source. CC BY-SA 4.0. Resized only; native appearance preserved.

Literature in black and white

The imagination that animates Delacroix's paintings also works through the restricted means of a print. His printmaking included images made for literary sequences, rather than only reproductions of existing oils. Ashley E. Dunn's study of his practice discusses his experiments across lithography, etching and aquatint, and the development of compositions for Shakespearean subjects. The Faust illustrations appeared in 1828; Hamlet became another sustained undertaking.[33]

In the Faust lithograph showing Mephistopheles airborne above a city, the devil's scale is the first shock. A vast winged body occupies the sky, while towers and roofs form a small, dark band below. One wing reaches upwards on the left; the other spreads broadly to the right. Bent legs and a turning torso prevent the figure from becoming a simple heraldic silhouette. He seems capable of changing direction even while dominating the space.

Black and white establish different kinds of presence. Dense darkness gives substance to the body and wings. Fine light lines articulate the wing membranes, and a grainy surrounding atmosphere makes the figure seem to emerge from an unsettled sky. Near the skyline, a pale round moon brings a quieter light into the scene. It measures the distance between the large airborne creature and the small inhabited city.

There is no need for the print to reproduce the colour of a painting to be fully expressive. The pressure of dark against light, the relation of a gigantic body to tiny buildings, and the unequal spread of the wings create an imaginative event on their own. The city is recognisable enough to suggest human habitation, but its people are too small to share the devil's pictorial authority. Scale becomes a form of menace.

The Faust series and Hamlet lithographs also raise a question that a single easel painting can partly conceal: how does an artist choose an episode? A literary work unfolds through language and time. An image must give its chosen moment a visible structure. An outstretched hand, a patch of darkness or a disproportion of scale can carry something that a text develops across sentences. Delacroix's literary art is compelling when it makes us feel that act of transformation.

Mephistopheles in the Air, 1828, lithograph, first state of five. National Gallery of Art; 1994.60.13. A winged figure dominates the small city below.
Mephistopheles in the Air, 1828, lithograph, first state of five. National Gallery of Art; 1994.60.13. A winged figure dominates the small city below. National Gallery of Art, Washington; Gift of Ruth B. Benedict. Image source. Public domain. Resized only; native appearance preserved.

Painting for buildings and public life

Large public commissions give another dimension to the career. At the Palais Bourbon, Delacroix received the Salon du Roi commission in 1833; the room was inaugurated in 1838. Work on the library followed in 1838–47. Its decoration extended across five cupolas, their pendentives and two end hemicycles. Assistants included Louis de Planet, Gustave Lassalle-Bordes and Pierre Andrieu.[6]

Those facts change the scale on which we imagine artistic labour. A picture on a wall can be approached as a single bounded field. A decorative programme has to contend with a room, multiple surfaces and a spectator who moves. The library's subjects, including Orpheus and Attila, also place imaginative narrative within an institution devoted to political life and the preservation of knowledge.[6] Delacroix's art occupied official spaces as well as provoking debate at exhibitions.

The murals and public commissions therefore deserve a place beside the famous canvases. Their existence complicates the picture of a solitary Romantic creating entirely outside institutions. Sustained work, assistance and the requirements of a building were integral to this part of his achievement. The broader biography is useful here for understanding how public responsibilities intersected with the production of independent paintings.

At Saint-Sulpice, the commission for the Chapel of the Holy Angels came in April 1849, with work intensifying after 1854 and the chapel inaugurated in 1861. The wall paintings use an oil and wax mixture, while the ceiling is an oil painting on canvas attached to the architectural surface.[34] Calling all these decorations frescoes would obscure the different materials involved.

Preparation also belonged to the undertaking. The City of Paris records drawn and painted sketches made for presentation to the authorities in 1849–50.[34] Such preliminary work gives a concrete basis for thinking about Delacroix's deliberation. Expressive force could be prepared, submitted, revised and developed over years. The apparent immediacy of a finished action need not tell us how quickly or simply its image came into being.

A late landscape makes room for hospitality

Ovid among the Scythians, painted in 1859, offers a quieter but equally purposeful arrangement. The National Gallery canvas is an oil painting measuring 87.6 × 130.2 centimetres. It shows the exiled Roman poet receiving hospitality: people offer him food and milk in a landscape far from Rome.[35] This is an imagined historical setting, not a place Delacroix had visited to record Ovid's surroundings.

The first impression is of room. Mountains and water occupy much of the painting, while the human gathering stays close to the lower edge. Ovid, in white and blue, reclines left of centre. He is identifiable within the group but does not command the whole landscape. A child and dog face him from the left. Near the centre, an offering is brought towards him; farther right, a dark mare stands over the person milking her.

The animal's size gives the right foreground a strong anchor. Its upright head and legs hold a different kind of weight from the smaller human figures nearby. Across the rest of the foreground, separate gestures remain readable because the figures are not compressed into one knot. Looking can pass from the poet to the offering, from the offering to the milking, and then out towards the water.

The lake provides a broad interval before the mountains. Cool blue and green distances soften the passage towards the horizon, while warmer clothes and earth keep attention returning to the gathering. The eye is allowed to leave the human action and come back. That freedom matters to the experience of the subject: hospitality appears through several ordinary acts within a world that extends beyond them.

Set beside Chios, the difference is striking. Both pictures distribute people across a foreground beneath a large landscape. In Chios, proximity exposes vulnerability and the mounted figure introduces coercive power. In Ovid, the space between people permits an exchange. The mare is involved in providing sustenance rather than carrying a threatening rider. These are contrasts visible within the compositions, not evidence that Delacroix had arrived at one final judgement about human nature.

Nor does quietness make the late picture merely a retreat from ambition. Its scale of attention is demanding in another way. The central subject has to remain meaningful without filling the canvas. The surrounding land and water must hold the eye without erasing the small gestures below. Delacroix gives the poet a place in the painting by making room around him.

The subject also leaves a productive tension. Exile separates Ovid from the world to which he belonged; the offering figures create a provisional welcome in another. The landscape can feel remote and sustaining at once. Instead of staging the moment of banishment, the painting asks us to attend to what happens after displacement: how a stranger is received, and how an unfamiliar place can become the setting for care.

Ovid among the Scythians, 1859, oil on canvas. National Gallery, London; NG6262. The small gathering occupies the lower part of a wide landscape.
Ovid among the Scythians, 1859, oil on canvas. National Gallery, London; NG6262. The small gathering occupies the lower part of a wide landscape. National Gallery, London, via Wikimedia Commons. Image source. Public domain. Resized only; native appearance preserved.

An inheritance made through looking and remaking

Delacroix's influence becomes clearest when attached to particular acts by later artists. The National Gallery's 2016 exhibition Delacroix and the Rise of Modern Art brought together Manet's copy of the Barque of Dante, Renoir's copy of the Jewish Wedding in Morocco, Van Gogh's Pietà after Delacroix and Cézanne's Apotheosis of Delacroix. The exhibition extended its argument towards Matisse and Kandinsky.[8] That trajectory was a curatorial interpretation, rather than a history in which Romantic painting had inevitably to become abstraction.

Copying supplies a more concrete relationship. A later artist selects a work, studies what can be carried across, and makes another image under different conditions. Admiration becomes an activity. Subject, arrangement and the means of transmission can matter alongside the reputation of the earlier painter.

The Vatican Museums' small Pietà by Van Gogh provides a particularly useful example. Its account identifies a lithograph after Delacroix as the intermediary and explains that the composition reverses the original. It also distinguishes this painting from Van Gogh's earlier, larger version now in Amsterdam.[36] Delacroix's image could therefore reach another painter through print, with changes already introduced by reproduction. Influence did not depend entirely on standing before an original oil painting.

His writings offer another route into the work. The Journal begins on 3 September 1822, has a long interruption between October 1824 and January 1847, and continues in later entries to 1863.[7] Its gaps matter: it is not a continuous commentary running evenly beside every painting. The Journal and letters nevertheless let us encounter the artist as someone who reflected on the demands of making and seeing. His observations can sharpen our questions without deciding in advance what each picture must mean.

Portraits, animals and flowers

The concentration of a portrait gives another measure of Delacroix’s range. His Frédéric Chopin, painted in 1838, survives as a fragment of an unfinished double portrait with George Sand, cut apart between 1863 and 1874.[37] The light face turns out of a dark coat and warm brown surrounding field. A small pale opening at the chest answers the larger illumination of the head, while the dark hair keeps the face from merging with the background. Its present intimacy also belongs to the object’s later history: these edges do not preserve the complete arrangement Delacroix originally conceived. The encounter is compelling even as its missing companion changes how we understand it.

In Tiger and Snake, dated 1862 by the National Gallery of Art, an encounter is concentrated differently.[38] The tiger stretches low across the foreground, its hindquarters raised and its front paws planted apart. The head and open mouth face the snake curling around a tree at the right. A narrow interval between them carries much of the tension. Dark stripes turn with the tiger’s body, while the snake’s loops repeat the tree’s vertical movement. The landscape opens beyond them towards the left, but attention repeatedly returns to that unresolved gap. Such an animal scene has its own arrangement of forces; it need not be treated simply as an illustration of a general Romantic passion.

Flowers also deserve a place beside the violent narratives. The Louvre catalogue dates Vase de fleurs à la console, formerly titled Fleurs, to about 1848–50 and records its appearance at the Exposition Universelle in 1855.[39] A flower subject could therefore stand within the public presentation of Delacroix’s achievement, rather than serving only as a private exercise. The bouquet studies offer another route into this quieter subject matter. Moving between portraits, animals and flowers changes what we ask of the artist: the relationship between colour and attention remains important even when a great historical event no longer supplies the drama.

Frédéric Chopin, 1838, oil on canvas. Musée du Louvre; RF 1717. A fragment of an unfinished double portrait with George Sand.
Frédéric Chopin, 1838, oil on canvas. Musée du Louvre; RF 1717. A fragment of an unfinished double portrait with George Sand. Shonagon, faithful reproduction via Wikimedia Commons. Image source. Public domain. Resized only; native appearance preserved.

Tiger and Snake, 1862, oil on canvas. National Gallery of Art; 2014.136.30. The tiger and the curling snake face one another across a narrow interval.
Tiger and Snake, 1862, oil on canvas. National Gallery of Art; 2014.136.30. The tiger and the curling snake face one another across a narrow interval. Image source. CC0 / Public domain. Resized only; native appearance preserved.

Choosing where to look next

Liberty Leading the People is a strong starting point because its public emblem and intimate physical cost occupy the same structure. Returning from it to Chios reveals how differently Delacroix could organise a collective subject. Moving to Sardanapalus makes attraction itself uncomfortable: brilliant surfaces draw us into a scene whose actions repel. These paintings reward comparison because their effects depend on distinct arrangements, even where suffering connects them.

For a different encounter, the airborne Mephistopheles shows how much Delacroix can do with black, white and a change of scale. The Sultan of Morocco makes authority visible through a gathering held against wall and sky. Ovid among the Scythians offers time to follow small gestures through an expansive landscape. Each gives a specific reason to look beyond the best-known image.

What directs our attention, and what does that direction make us feel? Follow a diagonal, a colour repeated at different heights, the interval between two bodies or the change from foreground to distance. The study of Delacroix's style and technique begins with such visible relationships. His imagination becomes most tangible where an arrangement turns an unfamiliar story, a political event or an ordinary act of care into something we can encounter with our own eyes.

Annotated Details from Eugène Delacroix

The numbered points identify visible features discussed in this article. Return from each detail to the whole composition. Each caption identifies the work shown.

Liberty Leading the People

Liberty Leading the People, 1830. Musée du Louvre; RF 129. The advancing group rises above fallen bodies. This reproduction predates the 2024 restoration. Image source. Public domain.

Annotated details from Liberty Leading the People by Eugène Delacroix

Ovid among the Scythians

Ovid among the Scythians, 1859, oil on canvas. The National Gallery, London; NG6262. National Gallery, London, via Wikimedia Commons. Image source. Public domain. Numbers added to a separate resized overview; detail images are crops of the source reproduction. No colour or perspective changes.

Annotated details from Ovid among the Scythians by Eugène Delacroix

Details from EUGÈNE DELACROIX

Compare these details with their positions in the complete reproductions.

Liberty Leading the People

1

The flag and the turning profile

The flag spreads across the smoke above Liberty’s raised arm. Her head turns towards the crowd while her body advances, joining a backward glance to a forward movement.

The flag and the turning profile detail from Liberty Leading the People by Eugène Delacroix
2

The boy with two pistols

The boy’s raised arm reaches towards the flag while the other pistol points outwards. His open mouth and advancing legs give this small figure a different rhythm from the adults around him.

The boy with two pistols detail from Liberty Leading the People by Eugène Delacroix
3

A body across the barricade

A pale body stretches across the foreground, with displaced clothing and limbs interrupting the stones. Its low, exposed form checks the upward movement towards the flag.

A body across the barricade detail from Liberty Leading the People by Eugène Delacroix
4

Different figures within the crowd

The top hat, pale apron and differently angled weapons help separate the nearest fighters. Their clothes and postures make the group varied without establishing named identities.

Different figures within the crowd detail from Liberty Leading the People by Eugène Delacroix
5

Notre-Dame beyond the smoke

The distant towers locate the scene in Paris while smoke interrupts the space between city and barricade. The small buildings give the foreground bodies an immense apparent scale.

Notre-Dame beyond the smoke detail from Liberty Leading the People by Eugène Delacroix

Ovid among the Scythians

6

The poet rests low within the landscape

A pale shirt and blue cloth distinguish Ovid without enlarging him into a commanding figure. His low position allows the surrounding figures to approach.

The poet rests low within the landscape detail from Ovid among the Scythians by Eugène Delacroix
7

Food is offered through a lowered gesture

The kneeling figure extends a shallow offering towards the poet. Other standing figures gather behind this small exchange.

Food is offered through a lowered gesture detail from Ovid among the Scythians by Eugène Delacroix
8

A child and dog face the poet

The small figure and dark animal stand at the edge of the welcome. Their scale helps establish the foreground distance.

A child and dog face the poet detail from Ovid among the Scythians by Eugène Delacroix
9

The mare gives the foreground its largest mass

A dark horse rises above the kneeling milker. The animal’s size draws attention to a practical source of nourishment.

The mare gives the foreground its largest mass detail from Ovid among the Scythians by Eugène Delacroix
10

Water opens a broad interval before the mountains

Low shorelines and cool mountain bands lead away from the people. This large, quiet distance makes the foreground gathering feel small within a wider world.

Water opens a broad interval before the mountains detail from Ovid among the Scythians by Eugène Delacroix

Essential Eugène Delacroix works

Death of Sardanapalus by Eugène Delacroix

Death of Sardanapalus

1827 · An immense literary spectacle built through colour, diagonals and destructive command.

Massacre at Chios by Eugène Delacroix

Massacre at Chios

1824 · Civilian suffering unsettles the expectations of heroic history painting.

Women of Algiers by Eugène Delacroix

Women of Algiers

1834 · A carefully composed interior made after the North African journey.

Barque of Dante by Eugène Delacroix

Barque of Dante

1822 · The first Salon painting tests the body against unstable water and terror.

Medea, 1862, oil on canvas. Musée du Louvre; RF 1402. This later variant differs from the large 1838 original in Lille.

Medea

1862; later variant of the 1838 original · The 1862 Louvre variant revisits a subject first exhibited in 1838.

Two parents resting beside a river, the father cradling their newborn in The Natchez by Eugène Delacroix

The Natchez

1823–24 and 1835 · A literary subject developed in two periods, rather than in one uninterrupted campaign.

Further reading

Books and museum resources for taking the subjects on this page further.

  • Delacroix. Sébastien Allard and Côme Fabre, with contributions by Dominique de Font-Réaulx, Michèle Hannoosh, Mehdi Korchane and Asher Miller. New York: The Metropolitan Museum of Art, 2018. English.

    The exhibition catalogue brings career studies, thematic essays and an illustrated checklist together. The museum provides a free PDF. Read the museum publication record.

  • Delacroix Drawings: The Karen B. Cohen Collection. Ashley E. Dunn, with contributions by Colta Ives and Marjorie Shelley. New York: The Metropolitan Museum of Art, 2018. English.

    A focused route into preparatory studies, copies and finished drawings, with attention to materials and working methods. View the museum’s book description.

  • Journey to the Maghreb and Andalusia, 1832: The Travel Notebooks and Other Writings. Eugène Delacroix, translated and annotated by Michèle Hannoosh. University Park: Penn State University Press, 2019. English. Paperback ISBN 9780271083346.

    An annotated translation bringing the travel notebooks together with later recollections, drafts and contextual notes. View the publisher’s description and contents.

Artworks directory

Selected documented works by or associated with Eugène Delacroix, with dates, media and collection records distinguished. This is a growing research directory, not a complete catalogue. An unspecified medium appears under All media.

221 records

NameDateMedium
Male Academy Figure: Half‑Length, Side Viewc. 1818–20Oil painting Catalogue.
Female Academy Figure: Seated, Front View (Mademoiselle Rose)c. 1820–23Oil painting Catalogue.
Two Bearded Heads, after Veronese (detail from “The Marriage at Cana”)1820Oil painting Catalogue.
Self‑Portrait as Ravenswoodc.1821Oil painting Catalogue.
Nereid, after Rubens, detail from “The Landing of Maria de Medici at Marseilles”c. 1822Oil painting Catalogue.
Studies of a Damned Man, for “The Barque of Dante”1822Drawing Catalogue.
Head of an Old Greek Woman1824Oil painting Catalogue.
Tasso in the Hospital of St. Anna, Ferrara1824Oil painting Catalogue.
Turk Mounting His Horse1824Aquatint Catalogue.
Portrait of AspasieAbout 1824Oil painting Catalogue.
Sketch after Goya’s “Caprichos”c. 1822–24Drawing Catalogue.
Study of Babouchesc. 1823–24Oil painting Catalogue.
Thales Fielding (1793–1837)c. 1824–25Oil painting Catalogue.
Studies of Bindings, an Oriental Jacket, and Figures after Goyac. 1822–26Oil painting Catalogue.
Study of an Oriental Vestc. 1822–26Drawing Catalogue.
Study of Greek Costumesc. 1823–26Drawing Catalogue.
Christ in the Garden of Olives (The Agony in the Garden)1824–26Oil painting Catalogue.
Reclining Female Nude: Back Viewc. 1824–26Oil painting Catalogue.
Macbeth Consulting the Witches1825Lithograph Catalogue.
Studies of Seven Greek Coins1825Lithograph Catalogue.
Studies of Twelve Greek and Roman Coins1825Lithograph Catalogue.
Mortally Wounded Brigand Quenches His Thirstc.1825Oil painting Catalogue.
Charles VI and Odette de ChampdiversAbout 1825Oil painting Catalogue.
The Duke of Orléans Showing His LoverAbout 1825–26Oil painting Catalogue.
Count Demetrius de Palatiano (1794–1849) in Suliot Costumec. 1825–26Oil painting Catalogue.
Greece on the Ruins of Missolonghi1826Oil painting Catalogue.
Combat of the Giaour and Hassan1826Oil painting Catalogue.
Justinian Drafting His Laws, sketch1826Oil painting Catalogue.
Baron Schwiter (Louis Auguste Schwiter, 1805–1889)1826Lithograph Catalogue.
Louis Auguste Schwiter (1805–1889)1826–30Oil painting Catalogue.
Death of Sardanapalus, sketch1826–27Oil painting Catalogue.
A Lady and Her Valetc. 1826–29Oil painting Catalogue.
Woman with a Parrot1827Oil painting Catalogue.
Seated Turk (possibly Paul Barroilhet, 1805–1871)c. 1827–30Oil painting Catalogue.
A Greek and a Turk in an Interiorlate 1820sWatercolour Catalogue.
Faust (illustrated book)1828Illustrated book Catalogue.
Mephistopheles Flying over the City (Study for “Faust,” plate 1)c. 1825–27Drawing Catalogue.
Faust, plate 1: Mephistopheles Aloft1826/27Lithograph Catalogue.
Faust, plate 2: Faust in His Study1826/27Lithograph Catalogue.
Faust, plate 3: Faust and Wagner1826/27Lithograph Catalogue.
Faust, plate 4: Faust, Wagner, and the Poodle1826/27Lithograph Catalogue.
Faust, plate 5: Mephistopheles Appearing to Faust1826/27Lithograph Catalogue.
Faust, plate 6: Mephistopheles Receiving the Student1826/27Lithograph Catalogue.
Faust and Mephistopheles in the Tavern (Study for “Faust,” plate 7)1825/26Drawing Catalogue.
Faust, plate 7: Mephistopheles in Auerbach’s Tavern1826Lithograph Catalogue.
Faust, Marguerite, and Mephistopheles in the Street (Study for “Faust,” plate 8)c. 1825–27Drawing Catalogue.
Faust, plate 8: Faust Trying to Seduce Marguerite1826/27Lithograph Catalogue.
Faust, plate 9: Mephistopheles Introduces Himself at Martha’s House1827Lithograph Catalogue.
Faust, plate 10: Marguerite at the Spinning Wheel1826/27Lithograph Catalogue.
Faust, plate 11: Duel between Faust and Valentin1826/27Lithograph Catalogue.
Faust, plate 12: Mephistopheles and Faust Fleeing after the Duel1826/27Lithograph Catalogue.
Faust, plate 13: Marguerite in Church1826/27Lithograph Catalogue.
Faust, plate 14: Faust and Mephistopheles in the Harz Mountains1826/27Lithograph Catalogue.
Faust, plate 15: Marguerite’s Ghost Appearing to Faust1826/27Lithograph Catalogue.
Faust, plate 16: Faust and Mephistopheles Galloping on Walpurgis Night1826Lithograph Catalogue.
Faust, plate 17: Faust with Marguerite in Prison1826/27Lithograph Catalogue.
Wild Horse Felled by a Tiger1828Lithograph Catalogue.
Wild Horse Felled by a Tiger1828Watercolour Catalogue.
Wild Horse1828Lithograph Catalogue.
Studies of a Lion (Tours sketchbook)12 February 1824 or 1829Drawing Catalogue.
Sketches of Tigers and Men in Sixteenth‑Century Costumec. 1828–29Watercolour Catalogue.
Nineteen Studies of Heads and Skulls of Lionsc. 1828–30Drawing Catalogue.
Tiger Lying at the Entrance of Its Lairc. 1828–30Etching Catalogue.
The Murder of the Bishop of Liège1829Oil painting Catalogue.
Royal Tiger1829Lithograph Catalogue.
Lion of the Atlas Mountains1829–30Lithograph Catalogue.
Young Tiger Playing with Its Mother (Study of Two Tigers)1830Oil painting Catalogue.
The Battle of Poitiers1830Oil painting Catalogue.
The Battle of Nancy and the Death of Charles the Bold, Duke of Burgundy, January 5, 14771831Oil painting Catalogue.
Boissy d’Anglas at the Convention, sketch1831Oil painting Catalogue.
Interior of a Dominican Convent in Madrid (L’Amende Honorable)1831Oil painting Catalogue.
Jewish Woman of Tangier1832Drawing Catalogue.
Portrait of Schmareck, Tanner at Tangier1832Watercolour Catalogue.
Standing Moroccan1832Watercolour Catalogue.
A Man of Tangier1832Watercolour Catalogue.
Saada, the Wife of Abraham Ben‑Chimol, and Préciada, One of Their Daughters1832Watercolour Catalogue.
Street in Meknes1832Oil painting Catalogue.
Moroccan Military Exercises1832Oil painting Catalogue.
Arab Cavalry Practicing a Charge (Fantaisie Arabe)1833Oil painting Catalogue.
A Blacksmith1833Aquatint Catalogue.
Collision of Arab Horsemen1833/34Oil painting Catalogue.
Figure Study for “The Women of Algiers”1833/34Watercolour Catalogue.
Women of Algiers in Their Apartment1834Oil painting Catalogue.
The Natchez1823–24 and 1835Oil painting Catalogue.
Christ on the Cross1835Oil painting Catalogue.
Hamlet and Horatio in the Graveyard1835Oil painting Catalogue.
Combat of the Giaour and Hassan1835Oil painting Catalogue.
Léon Riesener (1808–1878)1835Oil painting Catalogue.
Madame Henri François Riesener (Félicité Longrois, 1786–1847)1835Oil painting Catalogue.
Saint Sebastian Tended by the Holy Women1836Oil painting Catalogue.
Medea About to Kill Her Children, sketchc. 1836Oil painting Catalogue.
Moroccan Chieftain Receiving Tribute1837Oil painting Catalogue.
Self‑Portrait in a Green Vestc. 1837Oil painting Catalogue.
Medea About to Kill Her Children (Medée furieuse)1838Oil painting Catalogue.
Cleopatra and the Peasant1838Oil painting Catalogue.
Hamlet and Horatio in the Graveyard1839Oil painting Catalogue.
Startled Arabian Horse in a Landscapec. 1835–40Watercolour Catalogue.
The Shipwreck of Don Juan1840Oil painting Catalogue.
Christ on the Lake of Genesareth (Portland version)c. 1853Oil painting Catalogue.
Pietà, first sketchby 1843Oil painting Catalogue.
Pietà, second sketchby 1843Oil painting Catalogue.
Christ on the Cross, sketch1845Oil painting Catalogue.
Christ on the Cross1846Oil painting Catalogue.
Death of Sardanapalus (Philadelphia replica)1844 / 1845–46Oil painting Catalogue.
The Abduction of Rebecca1846Oil painting Catalogue.
The Lamentation (Christ at the Tomb)1847–48Oil painting Catalogue.
Arab Players1848Oil painting Catalogue.
Arch of Morning Glories, study for “Basket of Flowers”1848/49Pastel Catalogue.
Basket of Flowers1848–49Oil painting Catalogue.
Basket of Flowers and Fruit1849Oil painting Catalogue.
Basket of Flowersc. 1848–50Oil painting Catalogue.
Christ at the Columnprobably 1849Oil painting Catalogue.
Landscape at Champrosaypossibly 1849Oil painting Catalogue.
Michelangelo in His StudioAbout1849–50Oil painting Catalogue.
View in the Forest of Sénartc. 1849–50Oil painting Catalogue.
Forest View with an Oak Treec. 1849–50Watercolour Catalogue.
The Triumph of Genius over Envyc. 1849–51Drawing Catalogue.
Jacob Struggling with the Angel1850Drawing Catalogue.
Jacob Wrestling with the Angel1850Drawing Catalogue.
Jacob Wrestling with the Angel1850Oil painting Catalogue.
Sunsetc. 1850Pastel Catalogue.
Apollo Slays the Python, sketchc. 1850Oil painting Catalogue.
Apollo Victorious over the Serpent Python, sketchc. 1850Oil painting Catalogue.
PietàAbout1850Oil painting Catalogue.
The Agony in the Garden1851Oil painting Catalogue.
Study of the Sea1851(?)Watercolour Catalogue.
Marphise1852Oil painting Catalogue.
The Sea at Dieppe1852Oil painting Catalogue.
Christ Asleep during the Tempestc. 1853Oil painting Catalogue.
Saint Stephen Borne Away by His Disciples1853Oil painting Catalogue.
Christ on the Sea of Galilee1854Oil painting Catalogue.
The Sea at Dieppeprobably 1854Watercolour Catalogue.
A Lion and a Tiger, Fightingc. 1854Drawing Catalogue.
Lion Hunt, sketch1854Oil painting Catalogue.
Lion Hunt (fragment)1855Oil painting Catalogue.
Lion Hunt1855–56Oil painting Catalogue.
Hilly Landscapec. 1855Oil painting Catalogue.
The Sultan of Morocco and His Entourage1856Oil painting Catalogue.
The Bride of Abydos (Selim and Zuleika)1857Oil painting Catalogue.
Lamentation over the Body of Christ1857Oil painting Catalogue.
Abduction of Rebecca1858Oil painting Catalogue.
Ovid among the Scythians1859Oil painting Catalogue.
Amadis de Gaule Delivers a Damsel from Galpan’s Castle1859–60Oil painting Catalogue.
Arab Horses Fighting in a Stable1860Oil painting Catalogue.
Shipwreck on the Coast1862Oil painting Catalogue.
The Battle of Taillebourg won by Saint Louis (Château de Versailles)1837Oil on canvas Catalogue.
Christ on the Lake of Gennezaret (Christ Asleep during the Tempest) (The Metropolitan Museum of Art)About 1853Oil on canvas Catalogue.
The Coast of Spain at Salabrena (Christie’s 1998 sale 6059, lot 123)19 January 1832Pen and ink Catalogue.
Crouching Tiger (The Metropolitan Museum of Art)1839Pen and ink Catalogue.
The Education of Achilles (J. Paul Getty Museum)1862Pastel Catalogue.
Fallen Warriors and a Runaway Horse (The Metropolitan Museum of Art)1862Pen and ink Catalogue.
George Sand's Garden at Nohant (The Metropolitan Museum of Art)About 1842–43Oil on canvas Catalogue.
The Giaour on Horseback (The Metropolitan Museum of Art)1824–26Pen and ink Catalogue.
Lion Hunt (Art Institute of Chicago)1860–61; signed 1861Oil on canvas Catalogue.
Figure Studies related to Liberty Leading the People1830Pen and brown ink, brush and brown wash Catalogue.
Chios: Head, Shoulder and Foot Studies1823Graphite Catalogue.
Figure Studies for the Salon du Roi, Palais Bourbon1833–35Pen and iron gall ink Catalogue.
Four Studies of Horses1824–25Pen, ink, black wash and graphite (recto); graphite (verso) Catalogue.
Studies of a Horse and Rider for Heliodorus Driven from the Temple1849–50Pen and iron gall ink, graphite Catalogue.
Liberty Leading the People1830Oil on canvas Catalogue.
Massacre at Chios1824Oil on canvas Catalogue.
Death of Sardanapalus (Louvre original)1827Oil on canvas Catalogue.
Barque of Dante1822Oil painting Catalogue.
Orphan Girl at the Cemetery1824Oil painting Catalogue.
Jacob Wrestling with the Angel (Saint-Sulpice wall painting)Completed 1861Wall painting Catalogue.
Heliodorus Driven from the Temple (Saint-Sulpice wall painting)Completed 1861Wall painting Catalogue.
African Pirates Abducting a Young Woman1852Oil painting Catalogue.
An Arab Horseman at the Gallop1849Oil painting Catalogue.
Arabs Skirmishing in the Mountains1863Oil painting Catalogue.
Moroccan Horseman Crossing a FordAbout 1850Oil painting Catalogue.
A Moroccan (Arab) Saddling a Horse1855Oil painting Catalogue.
The Execution of the Doge Marino Faliero1825–26Oil painting Catalogue.
Christopher Columbus and his Son at La Rábida1838Oil painting Catalogue.
Horse Frightened by Lightning1825–29Watercolour Catalogue.
Horses Leaving the Sea1860Oil painting Catalogue.
Tiger with a Tortoise1862Oil painting Catalogue.
TigerAbout1830Watercolour Catalogue.
Tiger and Snake1862Oil painting Catalogue.
Tiger Hunt1854Oil painting Catalogue.
Lion Hunt in Morocco1854Oil painting Catalogue.
Lion Rending Apart a CorpseAbout1848;historical catalogue placementWatercolour Catalogue.
Frederic Chopin1838Oil painting Catalogue.
Portrait of George Sand1838Oil painting Catalogue.
Portrait of Frédéric Chopin and George Sand1838Oil painting Catalogue.
Mademoiselle RoseAbout 1820Oil painting Catalogue.
Head of a Woman in a Red Turban1831; archive dateOil painting Catalogue.
Two Views of a Standing Indian from CalcuttaAbout 1823–24Oil painting Catalogue.
Last Words of the Emperor Marcus Aurelius1844Oil painting Catalogue.
Entry of the Crusaders in Constantinople1840Oil painting Catalogue.
Medea1862Oil painting Catalogue.
The Death of Laras1858Oil painting Catalogue.
The Bride of AbydosAbout 1852–53; dating disputedOil painting Catalogue.
The Bride of LammermoorAbout1826Watercolour Catalogue.
Cromwell at Windsor Castle1828Oil painting Catalogue.
Milton Dictated to his Daughters the Paradise Lost1827–28Oil painting Catalogue.
Tasso in the Madhouse1839Oil painting Catalogue.
Christ on the Cross1853Oil painting Catalogue.
The Disciples at Emmaus1853Oil painting Catalogue.
The Entombment of ChristNineteenth century; precise date unestablishedOil painting Catalogue.
Fanatics of Tangier1837–38Oil painting Catalogue.
Jewish BrideUndated; Moroccan subject associated with the1832journeyWatercolour Catalogue.
Jewish Wedding in Morocco1839; Salon1841Oil painting Catalogue.
Moroccan Fantasia1847Oil painting Catalogue.
The Sultan of Morocco1845Oil painting Catalogue.
Bouquet of Flowers 18431843Watercolour Catalogue.
Bouquet of Flowers, 18491849Watercolour Catalogue.
Cliffs Near Dieppe1852–55Watercolour Catalogue.
The Edge of a Wood at Nohantc.1842/1843Watercolour Catalogue.
Still Life with Lobsters1826–27Oil on canvas Catalogue.
A Corner of the Studio (attribution disputed)1825–1850; attribution disputedOil on canvas Catalogue.
Study of the Sky at Sunsetc.1849Pastel Catalogue.
Self-Portrait, about 1840c.1840Oil on canvas Catalogue.
Women of Algiers in Their Apartment (1849)1849Oil on canvas Catalogue.
Susanna and the Elders1841Oil on canvas Catalogue.
The Education of Achilles (Drawing)c.1844Graphite Catalogue.
Attila the HunCompleted 1847Mural detail Catalogue.
The Italian Theatre1821Lithograph Catalogue.
A Turkish Man on a Grey HorseUndatedNot specified Catalogue.
Study for The Massacre at ChiosAbout 1823–24Graphite, watercolour and gouache on paper Catalogue.
The Prisoner of Chillon1834; Salon of 1835Oil on canvas Catalogue.
Two Knights Fighting in a LandscapeSecond quarter of the nineteenth century; precise date uncertainOil on canvas; possible later completion Catalogue.

Discussion

Look again at the images and ideas explored in Eugène Delacroix: Paintings, Colour and Imagination. These editorial prompts invite your observations.

Reader Insights

Editorial prompt · Follow the composition

Compare Liberty’s advancing group with the small figures in Ovid’s landscape. How does their scale change the viewer’s involvement?

Editorial prompt · Look again

Look from the dark wings of Mephistopheles to the tiny city. What can a print make visible through black and white?

Join the Conversation

Share a detail, comparison or question about Eugène Delacroix: Paintings, Colour and Imagination below.

References

  1. Musée du Louvre, Département des Arts graphiques. “DELACROIX Eugène”, artist biography. Louvre artist record. French. Accessed 28 October 2026. View source.
  2. Eugène Delacroix. “22 juin 1863”, Journal, edited by Paul Flat and René Piot, vol. III, Paris: Plon, 1893, p. 438. French text on Wikisource. French. Accessed 28 October 2026. View source.
  3. Eugène Delacroix. “18 juillet 1850”, Journal, edited by Paul Flat and René Piot, vol. II, Paris: Plon, 1893, p. 12. French text on Wikisource. French. Accessed 28 October 2026. View source.
  4. Musée du Louvre, Département des Peintures. “Dante et Virgile, dit aussi La barque de Dante”, 1822, INV 3820; object and acquisition record. Louvre collection record. French. Accessed 28 October 2026. View source.
  5. The Metropolitan Museum of Art. “Study for The Sultan of Morocco and His Entourage”, 1832–33, 2013.1135.20; object record and commentary. Met collection record. English. Accessed 28 October 2026. View source.
  6. Assemblée nationale. “Delacroix à l'Assemblée nationale”; sections on the Salon du Roi and library. Assemblée nationale account. French. Accessed 28 October 2026. View source.
  7. Institut national d'histoire de l'art (INHA). “Dans l'intimité d'Eugène Delacroix (1/2)”; article on the manuscripts and Journal, updated 6 November 2024. INHA article. French. Accessed 28 October 2026. View source.
  8. The National Gallery, London. “Delacroix and the Rise of Modern Art”, exhibition press release, issued December 2015, for the exhibition of 17 February–22 May 2016. National Gallery exhibition account. English. Accessed 28 October 2026. View source.
  9. Sébastien Allard and Côme Fabre, Delacroix. New York: The Metropolitan Museum of Art, 2018. Selected career passages, pages 109–113, 117–119 and 164–167; Mehdi Korchane, “Eugène and His Masters: Becoming Delacroix,” pages 245–253, complete essay; Asher Miller, compiler, checklist pages 275–297. English. Accessed 28 October 2026. View source.
  10. The National Gallery, London, Louis-Auguste Schwiter, 1826–30, NG 3286; current owner record and in-depth commentary. English. Accessed 28 October 2026. View source.
  11. Eugène Delacroix / Paul Flat and René Piot, editors, Journal, 3 September 1822. Paris: Plon, 1893, volume I, pages 1–4. Complete artist entry consulted; editorial notes not used as artist words. French. Accessed 28 October 2026. View source.
  12. The National Gallery, Delacroix and the Rise of Modern Art, exhibition press release, issued December 2015 for the 2016 exhibition. Complete narrative and editor notes consulted; copies and reception distinguished from a universal line of descent. English. Accessed 28 October 2026. View source.
  13. Vatican Museums, Vincent van Gogh, Pietà after Delacroix, collection account. Smaller lithograph-mediated version distinguished from the larger Amsterdam painting. English. Accessed 28 October 2026. View source.
  14. Cybele Gontar, Neoclassicism, Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, October 2003. Complete thematic text consulted. English. Accessed 28 October 2026. View source.
  15. Kathryn Calley Galitz, Romanticism, Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, October 2004. Complete thematic text consulted. English. Accessed 28 October 2026. View source.
  16. Jennifer Meagher, Orientalism in Nineteenth-Century Art, Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, October 2004. Complete thematic text consulted. English. Accessed 28 October 2026. View source.
  17. Musée du Louvre, Eugène Delacroix: artist biography. French. Accessed 28 October 2026. View source.
  18. Elizabeth E. Barker, Joseph Mallord William Turner (1775–1851), Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, October 2004. Complete thematic essay and artist dates consulted. English. Accessed 28 October 2026. View source.
  19. Elizabeth E. Barker, John Constable (1776–1837), Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, October 2004. Complete thematic essay and artist dates consulted. English. Accessed 28 October 2026. View source.
  20. Musée du Louvre, Dante et Virgile, dit aussi La barque de Dante, INV 3820, 1822; object metadata and history. French. Accessed 28 October 2026. View source.
  21. The Metropolitan Museum of Art, The Natchez, 1823–24 and 1835, accession 1989.328. Owner object fields and short commentary consulted. English. Accessed 28 October 2026. View source.
  22. Musée du Louvre, Scènes des massacres de Scio, INV 3823, 1824. Object details and historical record. French. Accessed 28 October 2026. View source.
  23. Musée du Louvre, Mort de Sardanapale, RF 2346, 1827. Object details and historical record. French. Accessed 28 October 2026. View source.
  24. Musée du Louvre, Le 28 juillet 1830. La Liberté guidant le peuple, RF 129, 1830. Object details and historical record. French. Accessed 28 October 2026. View source.
  25. Musée du Louvre, Département des Peintures. “Femmes d'Alger dans leur appartement”, 1834, INV 3824; object record. Louvre collection record. English interface; French object metadata. Accessed 28 October 2026. View source.
  26. National Gallery, London, Ovid among the Scythians, 1859, NG6262, oil on canvas, 87.6 × 130.2 cm. English. Accessed 28 October 2026. View source.
  27. Ville de Paris, Retrouvez les chefs d’œuvres de Delacroix à la chapelle des Saints-Anges de Saint-Sulpice, updated 30 November 2016; chapel commission/completion and material history. French. Accessed 28 October 2026. View source.
  28. Musée du Louvre, Medea,1862,RF1402; later variant of the1838Lilleoriginal,current object record. French. Accessed 28 October 2026. View source.
  29. Musée du Louvre, Département des Peintures. “Scènes des massacres de Scio. Familles grecques attendant la mort ou l'esclavage”, 1824, INV 3823; object and exhibition history. Louvre collection record. French. Accessed 28 October 2026. View source.
  30. Musée du Louvre, Département des Peintures. “Mort de Sardanapale”, 1827, RF 2346; description and historical record. Louvre collection record. French. Accessed 28 October 2026. View source.
  31. Musée du Louvre, Département des Peintures. “Le 28 juillet 1830. La Liberté guidant le peuple”, 1830, RF 129; creation, exhibition and acquisition history. Louvre collection record. French. Accessed 28 October 2026. View source.
  32. Musée des Augustins, Toulouse. “Moulay Abd-er-Rahman, sultan du Maroc, sortant de son palais de Meknès, entouré de sa garde et de ses principaux officiers”, 1845, 2004 1 99; object record. Musée des Augustins collection record. French. Accessed 28 October 2026. View source.
  33. Ashley E. Dunn. “Eugène Delacroix, Printmaker Par Excellence”, The Metropolitan Museum of Art, 7 November 2018. Met essay. English. Accessed 28 October 2026. View source.
  34. Ville de Paris. “Retrouvez les splendeurs de Delacroix à la chapelle des Saints-Anges de Saint-Sulpice”, updated 30 November 2016; commission, preparation and restoration account. City of Paris article. French. Accessed 28 October 2026. View source.
  35. The National Gallery, London. “Eugène Delacroix: Ovid among the Scythians”, 1859, NG6262; overview, in-depth commentary and object fields. National Gallery collection record. English. Accessed 28 October 2026. View source.
  36. Vatican Museums, Collection of Modern and Contemporary Art. “Vincent van Gogh: Pietà”; collection commentary. Vatican Museums record. English. Accessed 28 October 2026. View source.
  37. Musée du Louvre, Frédéric Chopin, RF 1717; creation, dimensions and history of the divided portrait. Louvre collection record. French. Accessed 28 October 2026. View source.
  38. National Gallery of Art, Washington, Tiger and Snake, 1862, 2014.136.30; collection record. National Gallery of Art record. English. Accessed 28 October 2026. View source.
  39. Musée du Louvre, Vase de fleurs à la console, about 1848–50, MNR 162; object and exhibition history. Louvre collection record. French. Accessed 28 October 2026. View source.
  40. Asher Ethan Miller, “Eugène Delacroix, Christ on the Sea of Galilee, 1853 or earlier,” French Paintings and Pastels, 1600–1945, Nelson-Atkins Museum of Art, 2021. Narrative and notes, including the revised Portland chronology; Glynnis Napier Stevenson documentation note 1 also consulted. Source language: English. Accessed 28 October 2026. View source.
  41. Ministère de la Culture, base Joconde, Bataille de Taillebourg. 21 juillet 1242, notice 000PE005883; collection du château de Versailles, MV 2676 / INV 3822 / LP 2780. French. Accessed 27 October 2026. View source.
  42. The Metropolitan Museum of Art, “Eugène Delacroix: Christ Asleep during the Tempest,” collection record, accession 29.100.131, object details and introductory commentary. Source language: English. Accessed 28 October 2026. View source.
  43. Christie’s, “The Coast of Spain at Salabrena”, Ferdinand-Victor-Eugène Delacroix, Impressionist & 19th Century Art, Pt. II, sale 6059, lot 123, 1998. Object details, sale-room notice and lot essay; unpaginated. Source language: English; artist’s inscription in French. Accessed 27 October 2026. View source.
  44. The Metropolitan Museum of Art, “Eugène Delacroix: Crouching Tiger”, collection record for accession 2013.1135.5, 1839; object details and curatorial commentary, unpaginated. Source language: English. Accessed 28 October 2026. View source.
  45. George R. Goldner and Lee Hendrix, with Kelly Pask, European Drawings 2: Catalogue of the Collections. Malibu: J. Paul Getty Museum, 1992, entry 56, p. 140; colour plate 8. Source language: English. Accessed 27 October 2026. View source.
  46. The Metropolitan Museum of Art, “Fallen Warriors and a Runaway Horse”, collection record, object details, curatorial commentary and collection image; unpaginated. Source language: English. Accessed 28 October 2026. View source.
  47. The Metropolitan Museum of Art, “George Sand’s Garden at Nohant,” Eugène Delacroix, collection record, accession 22.27.4; object details and curatorial overview. Source language: English. Accessed 27 October 2026. View source.
  48. The Metropolitan Museum of Art, “The Giaour on Horseback”, Eugène Delacroix, 1824–26, accession 2015.713.2, collection record and recto image. Source language: English. Accessed 27 October 2026. View source.
  49. Art Institute of Chicago, “Lion Hunt”, collection record, especially “About this artwork”, object information, inscriptions and provenance; unpaginated. Source language: English. Accessed 28 October 2026. View source.
  50. The Metropolitan Museum of Art, Figure Studies related to Liberty Leading the People, 1830, 2013.1135.12. Visible object metadata and short commentary. English. Accessed 28 October 2026. View source.
  51. The Metropolitan Museum of Art, Head, Shoulder, and Foot, Studies for Scenes from the Chios Massacres, 1823, 2013.1135.22. Visible object metadata and commentary. English. Accessed 28 October 2026. View source.
  52. The Metropolitan Museum of Art, Figure Studies for the Salon du Roi, Palais Bourbon, 1833–35, 2013.1135.24. Visible metadata and commentary. English. Accessed 28 October 2026. View source.
  53. The Metropolitan Museum of Art, Four Studies of Horses, 1824–25, 2024.591.65. Recto and verso metadata and commentary. English. Accessed 28 October 2026. View source.
  54. The Metropolitan Museum of Art, Studies of a Horse and Rider for Heliodorus Driven from the Temple, 1849–50, 2024.591.78. Visible metadata and commentary. English. Accessed 28 October 2026. View source.
  55. Philadelphia Museum of Art, The Death of Sardanapalus, object 82626, 1986-26-17, dated 1844. Heading and short commentary; dating differs from the 2018 catalogue. English. Accessed 28 October 2026. View source.
  56. Musée du Louvre, Jeune orpheline au cimetière, RF 1652, 1824; object metadata and history. French. Accessed 28 October 2026. View source.
  57. Musée des Beaux-Arts de Bordeaux, La Grèce sur les ruines de Missolonghi, Bx E 439, 1826; collection record and audio transcript. French. Accessed 28 October 2026. View source.
  58. Musée du Louvre, Pirates africains enlevant une jeune femme, RF 1965 9, 1852; object record, interpretation and provenance. French. Accessed 28 October 2026. View source.
  59. Qatar Museums, Tales of a Connected World: About the Galleries; Arab Horseman at the Gallop, 1849, Lusail Museum Collection, and Delacroix’s Gaze. English. Accessed 28 October 2026. View source.
  60. National Gallery of Art, Arabs Skirmishing in the Mountains, 1863, 1966.12.1; object metadata, interpretation and provenance. English. Accessed 28 October 2026. View source.
  61. J. Paul Getty Museum, Moroccan Horseman Crossing a Ford, about 1850, 2001.42; Getty-authored commentary and metadata on Google Arts & Culture. English. Accessed 28 October 2026. View source.
  62. State Hermitage Museum, Moroccan Saddling a Horse, 1855, ГЭ-3852; complete indexed Russian owner text and object fields. Russian. Accessed 28 October 2026. View source.
  63. Paris Musées / Petit Palais, Le Combat du Giaour et du Pacha,1835,PDUT1162; object record and interpretation. French. Accessed 28 October 2026. View source.
  64. Art Institute of Chicago, The Combat of the Giaour and Hassan,1826; owner-authored Google Arts & Culture object record. English. Accessed 28 October 2026. View source.
  65. Ackland Art Museum, Cleopatra and the Peasant,1838,59.15.1; indexed owner object fields. English. Accessed 28 October 2026. View source.
  66. The Wallace Collection, The Execution of the Doge Marino Faliero,1825–26,P282; object record and description. English. Accessed 28 October 2026. View source.
  67. National Gallery of Art, Christopher Columbus and His Son at La Rábida,1838,1963.10.127; object record and provenance. English. Accessed 28 October 2026. View source.
  68. Musée d’Orsay, Chevaux arabes se battant dans une écurie,1860,RF1988; indexed owner object fields. French. Accessed 28 October 2026. View source.
  69. Museum of Fine Arts, Budapest / Zsuzsa Gonda, Horse Frightened by Lightning,1825–29,D_1935-2698; owner-authored Google Arts & Culture record and essay. English. Accessed 28 October 2026. View source.
  70. The Phillips Collection, Horses Coming Out of the Sea,1860,0486; collection record and commentary. English. Accessed 28 October 2026. View source.
  71. Musée du Louvre, Jeune Tigre jouant avec sa mère,1830,RF1943; full object record and history. French. Accessed 28 October 2026. View source.
  72. Christie’s, Tigre jouant avec une tortue,1862; Rockefeller2018 sale16718 lot3, record and essay. English. Accessed 28 October 2026. View source.
  73. National Gallery of Art, Tiger, about1830,1943.3.3375; indexed owner record, inscription and visual description. English. Accessed 28 October 2026. View source.
  74. National Gallery of Art, Tiger and Snake,1862,2014.136.30; indexed owner record, provenance and visual description. English. Accessed 28 October 2026. View source.
  75. Musée d’Orsay, Chasse au tigre,1854,RF1814; indexed owner record and commentary. French/English. Accessed 28 October 2026. View source.
  76. State Hermitage Museum, Lion Hunt in Morocco,1854,3853; official guide2014,entry195,pp248–249. English. Accessed 28 October 2026. View source.
  77. Alfred Robaut / Ernest Chesneau, L’Œuvre complet de Eugène Delacroix,1885,p279,entry1054,watercolour Lion déchirant un cadavre. French. Accessed 28 October 2026. View source.
  78. Musée du Louvre, Frédéric Chopin, 1838, RF 1717; current owner record of the surviving fragment. French. Accessed 28 October 2026. View source.
  79. Museum Ordrupgaard, George Sand, 1838, 280WH; current owner dimensions/materials/signature record. Danish. Accessed 28 October 2026. View source.
  80. Musée du Louvre, Preparatory study for Chopin and George Sand, circa 1838, RF 9357; owner record and commentary. French/English. Accessed 28 October 2026. View source.
  81. Musée du Louvre, Portrait de Léon Riesener, 1835, RF 1960 58; current owner metadata, label transcription and commentary. French. Accessed 28 October 2026. View source.
  82. Musée du Louvre, Nu assis, dit Mademoiselle Rose, about 1820, RF 1942 14; complete owner object record. French. Accessed 28 October 2026. View source.
  83. Musée Fabre, Étude d’après le modèle Aspasie, about 1824, 868.1.36; current owner fields and short commentary. French. Accessed 28 October 2026. View source.
  84. Musées d’Orléans, Head of an Old Greek Woman, study for Chios,1824,96.2.1; full owner record and commentary. French. Accessed 28 October 2026. View source.
  85. Art Fund, Head of a Woman in Red Turban By Lamplight; archive date1831, rounded dimensions and1962acquisition support; archive cautions record notupdated. English. Accessed 28 October 2026. View source.
  86. National Gallery of Art, Two Studies of a Standing Indian from Calcutta,c1823/1824,2006.128.18; current owner record and visual description. English. Accessed 28 October 2026. View source.
  87. National Gallery of Art, Two Studies of an Indian from Calcutta,Seated and Standing,c1823/1824,2006.128.19; separate comparative canvas,current owner record. English. Accessed 28 October 2026. View source.
  88. Musée du Louvre, The Assassination of the Bishop of Liège,1829,RF1961 13; complete owner fields and selected provenance. French. Accessed 28 October 2026. View source.
  89. Musée des Beaux-Arts de Nancy, The Battle of Nancy, signed1831,177; current object fields, narrative and acquisition history. French. Accessed 28 October 2026. View source.
  90. Musée des Beaux-Arts de Lyon, Last Words of the Emperor Marcus Aurelius,1844,A2928; complete owner record and interpretation. French. Accessed 28 October 2026. View source.
  91. Mar Borobia, Museo Nacional Thyssen-Bornemisza, The Duke of Orléans Showing His Lover,about1825–26,127(1977.19); complete object record and essay. English. Accessed 28 October 2026. View source.
  92. Musée du Louvre, Entry of the Crusaders in Constantinople,1840,INV3821/LP4674; current owner description, commission and provenance. French. Accessed 28 October 2026. View source.
  93. Musée du Louvre, The Shipwreck of Don Juan,1840,RF359; current owner fields and1883gift record. French. Accessed 28 October 2026. View source.
  94. Musée du Louvre, The Bride of Abydos,RF1398; current dimensions/bequest and broad date differing from the2018catalogue. French. Accessed 28 October 2026. View source.
  95. Palais des Beaux-Arts de Lille, Medea About to Kill Her Children,1838,P542; the earlier large original,current owner record. French. Accessed 28 October 2026. View source.
  96. Kimbell Art Museum, Selim and Zuleika,1857,AP1986.04; separate final version, complete indexed owner narrative/provenance. English. Accessed 28 October 2026. View source.
  97. Art Gallery of Ontario, The Bride of Lammermoor,about1826,80/83; graphite,watercolour andgouache,collection/provenance record. English. Accessed 28 October 2026. View source.
  98. Christie’s, Cromwell at Windsor Castle,1828,Johnson129;2002auction record/lotessay and1831Salon listing. English. Accessed 28 October 2026. View source.
  99. Musée Fabre, Michelangelo in His Studio,1850,868.1.40;current object fields andinterpretive notice. French. Accessed 28 October 2026. View source.
  100. Kunsthaus Zürich, Milton Dictating Paradise Lost to His Daughters,1827–28,1988/0028;current ownerPDF. English. Accessed 28 October 2026. View source.
  101. Sammlung Oskar Reinhart Am Römerholz, Tasso in the Madhouse,1839,oil60×50cm;owner object record. English. Accessed 28 October 2026. View source.
  102. The National Gallery, London, Christ on the Cross,1853,NG6433;oil73.5×59.7cm,currentobjectrecord. English. Accessed 28 October 2026. View source.
  103. The Walters Art Museum, Christ on the Sea of Galilee,1854,37.186;oil59.8×73.3cm,currentobjectrecord. English. Accessed 28 October 2026. View source.
  104. Brooklyn Museum, The Disciples at Emmaus,1853,50.106;oil55.2×47cm,currentobjectrecord. English. Accessed 28 October 2026. View source.
  105. INHA / Joconde, La Mise au tombeau,copyafterTitian,LyonB286;oil40×55.5cm,nineteenthcentury,currentobjectfields. French. Accessed 28 October 2026. View source.
  106. Nasjonalmuseet, Oslo, Pietà,about1850,NG.M.01179;oil35.6×27cm,currentobjectrecord. English. Accessed 28 October 2026. View source.
  107. Minneapolis Institute of Art, Convulsionists of Tangier,1837–38,73.42.3;oil95.57×128.59cm,owner-published collection data. English. Accessed 28 October 2026. View source.
  108. Musée du Louvre, Mariée juive à Tanger,undated,RF4614Recto;watercolour/graphite28.5×23.2cm,currentobjectrecord. French. Accessed 28 October 2026. View source.
  109. Musée du Louvre, Noce juive dans le Maroc,1839,INV3825/LP4737;oil105×140.5cm,Salon1841,currentobjectrecord. French. Accessed 28 October 2026. View source.
  110. Swiss Federal Office of Culture, Marokkanische Soldaten bei einer Gefechtsübung,1847,SOR1936.3;oil66×82cm,Römerholz,currentobjectrecord. German. Accessed 28 October 2026. View source.
  111. Musée des Augustins, Toulouse, Moulay Abd-er-Rahman,sultan du Maroc,1845,2004 1 99;oil384×344cm,currentobjectrecord. French. Accessed 28 October 2026. View source.
  112. French Ministry of Culture / Musée Fabre, Bouquet de fleurs, 1843, inventory 876.3.101; black pencil and watercolour, 20.5 × 26.4 cm. Current Joconde collection record. French. Accessed 28 October 2026. View source.
  113. Musée du Louvre, Bouquet de fleurs, 1849, RF 31719, Recto; watercolour, gouache and pastel over black pencil on two joined sheets of grey paper, 65 × 65.4 cm. Current collection record. French. Accessed 28 October 2026. View source.
  114. Musée Marmottan Monet, Monet collectionneur – Chefs-d’œuvre de sa collection privée, 2017 press dossier, printed p.24 (PDF p.23). Cliffs near Dieppe, 1852–55, watercolour, 20 × 30.7 cm; reproduction and collection history. French. Accessed 28 October 2026. View source.
  115. National Gallery of Art, Washington, The Edge of a Wood at Nohant, c.1842/1843, accession 1985.16.2; watercolour, 15.5 × 20.5 cm. Current collection record. English. Accessed 28 October 2026. View source.
  116. Musée du Louvre, La mer vue des hauteurs de Dieppe, RF 1979-46; oil on cardboard glued to wood, 36 × 52 cm. Current collection record; 1852 dating follows the 2018 Delacroix catalogue, no.128. French. Accessed 28 October 2026. View source.
  117. Musée du Louvre, Nature morte au homard, RF1661,1826–27, oil on canvas80.5×106.5cm. French. Accessed 28 October 2026. View source.
  118. Musée du Louvre, Coin d’atelier. Le poêle, RF2058,1825–1850,oil51×43.4cm; doubtful signature and disputed attribution. French. Accessed 28 October 2026. View source.
  119. Musée du Louvre, Etude de ciel au soleil couchant, RF3706 Recto,c1849,pastel on grey paper19.2×23.8cm. French. Accessed 28 October 2026. View source.
  120. Ministero della Cultura / Gallerie degli Uffizi, Autoritratto di Delacroix,0900099717,Inv1890no3914,c1840,oil66×54cm; complete six-page SIGEC record. Italian. Accessed 28 October 2026. View source.
  121. Musée du Louvre / Musée national Eugène-Delacroix, Portrait de Delacroix en Hamlet, formerly Ravenswood,MD2021-2/RF1953-38,c1821,oil41×33cm. French. Accessed 28 October 2026. View source.
  122. Musée Fabre, Femmes d’Alger dans leur intérieur, 1849, 868.1.38, oil on canvas, 85 × 112 cm. French. Accessed 28 October 2026. View source.
  123. Musée des Beaux-Arts de Lyon, Femme caressant un perroquet, 1827, B 566, oil on canvas, 24.8 × 33 cm. French. Accessed 28 October 2026. View source.
  124. Palais des Beaux-Arts de Lille, Suzanne et les vieillards, 1841, P 986, oil on canvas, 27 × 35.5 cm. French. Accessed 28 October 2026. View source.
  125. Kunstmuseum Basel, Ein sterbender Brigant trinkt an einer Quelle, c.1825, 1726, oil on canvas, 32.7 × 40.8 cm. German. Accessed 28 October 2026. View source.
  126. The Metropolitan Museum of Art, The Education of Achilles, c.1844, 2014.732.3, graphite, 23.6 × 29.7 cm. English. Accessed 28 October 2026. View source.
  127. Assemblée nationale, Attila and His Hordes Overrun Italy and the Arts, War hemicycle detail, library of the Palais Bourbon, completed 1847, oil and wax on plaster. French. Accessed 28 October 2026. View source.
  128. The Metropolitan Museum of Art, Théâtre Italien, 13 August 1821, 2004.198, lithograph, sheet 25.6 × 18.6 cm. English. Accessed 28 October 2026. View source.
  129. The Metropolitan Museum of Art, Macbeth Consulting the Witches, 1825, 22.63.19, lithograph, third state of five. English. Accessed 28 October 2026. View source.
  130. Musée du Louvre, Hamlet et Horatio au cimetière, 1839, RF 1942, oil on canvas, 82 × 65 cm. French. Accessed 28 October 2026. View source.
  131. Museum of Fine Arts, Houston, The Abduction of Rebecca, Eugène Louis Lami, 1873, 88.341. Comparative attribution correction; not a Delacroix work. English. Accessed 28 October 2026. View source.
  132. The Metropolitan Museum of Art, Devotion to Drawing: The Karen B. Cohen Collection of Eugène Delacroix, 2018 exhibition overview. English. Accessed 28 October 2026. View source.
  133. New York Public Library, Print Collection: Print Glossary, definitions of impression, state, edition and processes. English. Accessed 28 October 2026. View source.
  134. Museum of Fine Arts, Boston, CAMEO, Lithograph, planographic printing glossary. English. Accessed 28 October 2026. View source.
  135. Musée Eugène-Delacroix, Delacroix and colour, 5 July 2022, collection article. English. Accessed 28 October 2026. View source.
  136. Eugène Delacroix / Philippe Burty, editor, Lettres (1815–1863), Paris: A. Quantin, 1878, pp. 120–121; the published extract of 25 January 1832 and opening of 8 February. French. Accessed 28 October 2026. View source.
  137. The Metropolitan Museum of Art, A Wall Decorated in Spanish Tiles, 1832, 2013.1135.16; collection record. English. Accessed 28 October 2026. View source.
  138. National Gallery of Art, Washington, Mephistopheles in the Air, 1828, 1994.60.13; first state of five. English. Accessed 28 October 2026. View source.
  139. The Metropolitan Museum of Art, Hamlet Sees the Ghost of His Father on the Terrace, 1843, 22.56.7; first state of five. English. Accessed 28 October 2026. View source.
  140. Eugène Delacroix / Paul Flat and René Piot, editors, Journal, 22 June 1863; Paris: Plon, 1893, volume III, page 438. French. Accessed 28 October 2026. View source.
  141. Musée du Louvre, Apollo Slays Python, 1850–51; INV 3818. Collection record. French. Accessed 28 October 2026. View source.
  142. Sotheby’s, A Turkish Man on a Grey Horse, catalogued under Eugène Delacroix; sale N07716, 2001, lot 20. English. Accessed 28 October 2026. View source.

More DELACROIX Artworks

Liberty Leading the People — Eugène Delacroix
Liberty Leading the People
Death of Sardanapalus — Eugène Delacroix
Death of Sardanapalus
Massacre at Chios — Eugène Delacroix
Massacre at Chios
Women of Algiers — Eugène Delacroix
Women of Algiers
Barque of Dante — Eugène Delacroix
Barque of Dante
Greece on the Ruins of Missolonghi — Eugène Delacroix
Greece on the Ruins of Missolonghi
Orphan Girl at the Cemetery — Eugène Delacroix
Orphan Girl at the Cemetery
Jacob Wrestling with the Angel — Eugène Delacroix
Jacob Wrestling with the Angel