Mephistopheles flies above a small city in Delacroix’s 1828 Faust lithograph. Buy Art Prints Now
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Published on October 30, 2026 / Updated on October 30, 2026
Tom Gurney BSc (Hons) is an art history expert with over 20 years experience

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Faust Lithographs: Introduction

A winged devil hangs above a city whose towers scarcely reach his feet. A scholar lowers his head towards a skull in a room crowded with books. A woman sits in prison while two men direct incompatible appeals towards her. In Eugène Delacroix’s Faust lithographs, changes of setting also change the pressure on the human body: it can fly, hesitate, climb or remain seated while others demand movement. These images make an argument through space and gesture, giving Goethe’s drama a visual rhythm of its own.

The series comprises seventeen narrative lithographs and a portrait of Johann Wolfgang von Goethe: eighteen images in all. The Rijksmuseum’s record for a surviving Faust wrapper brings together the portrait and the narrative subjects under the catalogue sequence Delteil 57–74.[1] Published in Paris in 1828, the illustrated book accompanied Albert Stapfer’s French translation, Faust: Tragédie de M. de Goethe. Cleveland’s records identify Charles Motte as publisher and Sautelet as distributor.[2] The encounter was therefore between a German drama, a French translation and an artist’s independent choices about what a scene could look like.

At a Glance

  • PublicationParis, 1828; Albert Stapfer’s French translation [2]
  • ImagesSeventeen narrative lithographs plus a portrait of Goethe [1]
  • Publication rolesCharles Motte, publisher; Sautelet, distributor [2]
  • Main impressionMephistopheles in the Air; NGA 1994.60.13, first state of five [3]

Contents

  1. From the theatre to the illustrated book
  2. Mephistopheles above the city
  3. Faust’s study: light without reassurance
  4. A difficult ascent in brush and wash
  5. The prison: three gestures and an open door
  6. The printed image as a collaboration
  7. Returning to the drama
  8. Annotated details

From the theatre to the illustrated book

The publication date marks the completion of a project already several years old. The Städel Museum traces Delacroix’s initial stimulus to a performance of Faust seen during his London stay in 1825, and dates the preparation of the seventeen scenes to 1825–27.[4] That theatrical beginning helps frame a useful question about the prints: how can a still image convey the unstable relationships that a performance unfolds through movement and speech?

In the three lithographs considered closely here, Delacroix makes the direction of a head or an arm carry much of that burden. The devil’s body appears to turn within an immense surrounding sky. Faust’s bowed head makes a quiet exchange with the skull across his table. In the prison, a raised arm at the doorway interrupts the near meeting of two faces. These are arrangements a viewer can apprehend quickly, yet their emotional implications take longer to settle. The image holds the gesture still and leaves time to examine it.

A book offers another kind of duration. Readers can stop beside an illustration, continue with the text, then return to the same image with a different understanding. A caption narrows attention to a spoken moment, while the picture keeps other things visible: the furniture between us and a figure, the distance between two bodies, the weight of walls. The lithographs bring the drama into the intimate space of reading without having to reproduce a theatrical performance literally.

The sequence also gives the book a range of social and imaginative spaces. Its subjects include Faust and Wagner, the poodle, Mephistopheles receiving a student, the tavern, Faust’s pursuit of Marguerite, Martha’s house, Marguerite at her spinning wheel, the duel and its aftermath, the church, the Harz Mountains, an apparition of Marguerite, the Walpurgis Night gallop and the final prison encounter.[5] Even the titles suggest alternating pressures: private thought and public encounter, domestic occupation and sudden violence, recognisable rooms and supernatural travel. The study and prison belong within this larger movement, but their relationship becomes especially clear when set against the extraordinary opening image of the airborne devil.

Mephistopheles above the city

The National Gallery of Art’s Mephistopheles in the Air is a lithograph in black on chine collé, dated 1828. Its image measures 30.3 × 25.1 centimetres, within a sheet measuring 46.9 × 34 centimetres. The museum identifies this impression, given by Ruth B. Benedict, as the first of five states, Delteil 58.[3] Those modest dimensions contain a startling reversal of ordinary scale. The city is reduced to a dark, uneven fringe; the figure above it becomes our immediate neighbour.

Mephistopheles does not simply stretch across the sheet like a flat emblem. His torso twists, his head turns to the right, and his bent legs sweep away from the direction of his extended left arm. One wing rises steeply at the left; the other opens in a broad fan towards the right. The different angles prevent the pose from settling into symmetry. He seems able to change direction even while the print fixes him in place.

His wings have substance. Broad dark membranes are articulated by fine pale ribs, so that the blackest areas still contain a delicate internal structure. Around them, the sky has a grainy, restless density. The figure belongs to that darkness but also separates from it through sharp contours and small passages of light. Looking at the wings takes us between two scales of attention: their great span across the image and the thin lines within them.

Far below, a pale moon presses against the skyline. Its small, clear brightness cannot organise the whole scene into a reassuring landscape. Towers, roofs and spires remain compressed together, while the devil occupies the larger field above. The clustered buildings supply a measure by which his proximity becomes disturbing.

The viewer has no visible ledge or rooftop from which to watch. We seem suspended near the figure, looking past him towards the buildings below. That position makes the scene more unsettling than a view safely anchored in the city would be. Mephistopheles possesses the air around him; our own place within it is uncertain. There is no Faust beside him to provide a human companion or a second centre of attention. The devil’s solitary body dominates both the scene and the act of looking.

Faust’s study: light without reassurance

The next narrative plate reverses those conditions. Cleveland calls its impression Faust in his dressing-room, although the room’s scholarly furnishings and the French designation cabinet make Faust in His Study a clearer description of the subject. The museum dates the lithograph to 1828 and records it as Delteil 59, state III/VIII.[2] Instead of the devil’s exposed, twisting body, we encounter a man enclosed in a long robe, standing among objects that occupy nearly every available part of the room.

Faust stands slightly left of centre with his head inclined towards the skull on the books at the right. His hands are low, his shoulders contained within the broad dark collar of his robe. The downward movement of his gaze is small, but the composition gives it consequence. Across the table, the skull returns no gaze. Its hollow sockets and rounded dome offer a compact, silent counterpart to the living head.

The hanging lamp sits high at the right. Its bright flames make the room legible, picking out Faust’s pale clothing, the skull and a broad area of wall. Yet visibility supplies no simple assurance. The books can be seen; the skull can be studied; Faust remains absorbed and still. Light reveals the materials of inquiry without demonstrating that inquiry has brought him peace or certainty.

The chair in the foreground is especially important. Its curved arms and upholstered seat occupy the space through which we might otherwise approach Faust. We look past this obstacle towards him rather than standing unobstructed at his side. The table forms another boundary across the lower right, while books, curtain and furniture fill the left. The room has depth, but little openness. Its objects make a setting for thought and simultaneously restrict our access to the thinker.

Darkness is distributed differently here from the sky around Mephistopheles. In the airborne scene, grainy shadow extends around a body free to turn. In the study, shadow accumulates in corners and behind furnishings. The pale robe becomes a central upright shape caught between these dense margins. The contrast gives Faust considerable visual presence while keeping him contained.

The two plates therefore establish distinct kinds of power. Mephistopheles takes possession of space through extension; Faust occupies space through concentration. The devil’s gestures spread outwards, while the scholar’s attention contracts towards the skull. Reading the images beside one another makes their difference more precise than a general description of both as dark or dramatic could do. Each uses black and white to establish a different relation between a figure and his surroundings.

Faust in His Study, 1828, lithograph, third state of eight. The Cleveland Museum of Art; 1933.145.3. Books, a skull and a foreground chair enclose the standing figure.
Faust in His Study, 1828, lithograph, third state of eight. The Cleveland Museum of Art; 1933.145.3. Books, a skull and a foreground chair enclose the standing figure. The Cleveland Museum of Art; Gift of The Print Club of Cleveland. Image source. CC0 / Public domain. Resized only; native appearance preserved.

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A difficult ascent in brush and wash

A preparatory drawing at the Städel, Faust und Mephisto auf dem Blocksberg, opens another view of Delacroix’s work on the series. Dated about 1826–27, it measures 24.5 × 18.5 centimetres and is drawn with black and grey brushwork over graphite. The museum relates it to the steep ascent towards the Brocken at the beginning of the Walpurgis Night episode.[4]

Faust appears at the lower left, reaching uphill towards Mephistopheles, who occupies the higher ground at the right. The contact between them is crucial. Faust seems to seek support by gripping the fabric or arm before him, while the devil spreads his arms across the slope. Their bodies do not share the same balance. One struggles towards a foothold; the other extends himself across the difficult terrain.

The slope cuts diagonally through the sheet. Dark rocks and angular vegetation interrupt it, and bare branches twist above the higher figure. The spaces of pale paper between the washes keep the terrain from becoming a continuous solid mass. They can read as light on a limb, an exposed plane of rock or a gap amid the surrounding darkness. The eye has to negotiate these changes, following the ascent while repeatedly meeting interruptions.

That experience gives the drawing a halting rhythm. Its strongest diagonal promises upward movement, but the uneven ground and Faust’s reaching posture make every advance look precarious. Mephistopheles’ expansive gesture might suggest command, yet the surrounding tangle prevents the landscape from becoming an easy route. The pair are linked physically without appearing equally secure.

The drawing also offers a useful comparison with the three lithographs. Broad washes can gather several forms into a single dark passage, while exposed paper opens abrupt intervals of brightness. In the prints, fields of grain and closely worked lines sustain the atmosphere across more continuous surfaces. Both approaches make light an active part of the scene. Their different marks give different weights to a clouded sky, a furnished room or a broken slope. The brush drawing is an image with its own force, as well as evidence of preparation for the book.

Faust and Mephistopheles on the Brocken, about 1826–27, black and grey brushwork over graphite. Städel Museum; 16758 Z. A preparatory drawing, distinct from a printed illustration.
Faust and Mephistopheles on the Brocken, about 1826–27, black and grey brushwork over graphite. Städel Museum; 16758 Z. A preparatory drawing, distinct from a printed illustration. Städel Museum, Frankfurt am Main. Image source. Public domain. Resized only; native appearance preserved.

The prison: three gestures and an open door

The final narrative plate, Faust in the Prison of Marguerite, returns the drama to an enclosed room. Cleveland’s impression is a lithograph dated 1828, catalogued as Delteil 74.[6] Marguerite sits at the right, Faust leans towards her from the centre, and Mephistopheles appears at the doorway on the left. A barred window stands high in the opposite wall. A heavy chain and cuff lie conspicuously across the foreground.

The most intimate action takes place between Faust’s face and Marguerite’s. His head bends towards hers, the feathered cap and streaming plume extending the movement behind him. She turns towards him with a hand raised against his chest or clothing. Their faces nearly meet, but their bodies are not moving together. He leans and reaches; she remains seated. Her raised hand makes contact while also preserving a visible interval between them.

That ambiguity matters. Contact alone cannot establish that she accepts his appeal. The image gives us proximity, attention and an unresolved bodily exchange. Marguerite’s pale face and exposed upper chest stand out against the darker wall, drawing the eye towards her response. Faust’s energetic approach has to be understood in relation to that still, seated presence. She occupies the right side of the composition with a weight that his movement does not displace.

At the left, Mephistopheles introduces another tempo. He raises an arm beside his head and leans into the doorway, his gaze directed towards the pair. His gesture seems urgent, but it does not enter the close circuit between their faces. Faust’s body connects the two areas: one arm reaches back towards the doorway while his head turns towards Marguerite. He is stretched between the demand to leave and the encounter that keeps him within the room.

The doorway makes departure visible as a possibility. Nevertheless, the prison remains the dominant spatial fact. Thick masonry encloses the figures, the high window offers no accessible opening, and the chain occupies the nearest part of the floor. We encounter the instruments of confinement before looking up towards the people. An open door has not yet become an escape.

The chair in the study and the chain in the prison perform related visual tasks. Both occupy the foreground and complicate our approach. Their meanings differ: one belongs to a furnished interior, the other makes captivity tangible. Yet each helps prevent the scene from becoming a simple arrangement of readable faces. Delacroix makes the room, and the viewer’s position before it, participate in the drama.

The prison also transforms the devil’s earlier command of space. In the airborne plate, nothing competes with his great wingspan. Here he is compressed within a doorway and must direct his appeal towards people whose attention is elsewhere. His gesture remains emphatic, but its effectiveness is uncertain. The series can thus alter the balance between its characters through the size and placement of their bodies, without requiring a change in the recognisability of their features.

Faust in the Prison of Marguerite, 1828, lithograph. The Cleveland Museum of Art; 1933.145.18. The close encounter at the right competes with the gesture at the doorway.
Faust in the Prison of Marguerite, 1828, lithograph. The Cleveland Museum of Art; 1933.145.18. The close encounter at the right competes with the gesture at the doorway. The Cleveland Museum of Art; Gift of The Print Club of Cleveland. Image source. CC0 / Public domain. Resized only; native appearance preserved.

The printed image as a collaboration

The book emerged through the work of artist, printer and publisher. Ashley E. Dunn’s account for the Metropolitan Museum notes that early Faust proofs could carry remarques, small marginal sketches subsequently removed from the published edition. She also describes the project’s original reception as a commercial and critical failure.[7] The Städel reports Goethe’s praise through Eckermann’s account of their conversation on 29 November 1826.[4] These accounts suggest that the book’s initial fortunes and its imaginative achievement could elicit different judgements. The margins and states show that the printed form could change before readers encountered the published book.

The study plate makes the collaboration unusually explicit. The National Museum of Western Art in Tokyo records another impression of Delteil 59, also state iii/viii, with inscriptions crediting Delacroix’s invention and lithography at the lower left and Motte as printer and publisher at the lower right.[8] These divided credits belong to the image’s public presentation. They acknowledge that making the design and producing its printed impressions involved related kinds of work.

States also keep us attentive to the particular object in front of us. The National Gallery’s first-state airborne devil and Cleveland’s third-state study are separate compositions with separate histories of alteration. Their state numbers do not provide a scale of artistic merit. Nor should the dimensions of one museum’s study impression be transferred to another sheet. A series can preserve a common sequence while its individual impressions retain their own physical identities.

Returning to the drama

The strongest connection between these images is their ability to make an action seem unfinished. Mephistopheles can turn in the sky; Faust can continue his silent address to the skull; the climbers have not reached secure ground; the people in the prison have not left it. Each composition fixes a moment while directing attention towards something that might happen next.

The concluding prison scene gives that suspended quality particular force. Its gestures point in different directions, and the promised route through the door remains visibly difficult to take. Set against the devil’s earlier aerial freedom, the seated Marguerite makes the cost of movement newly serious. Delacroix’s lithographs interpret the drama through these changing relationships between body and place. Returning from caption to image, the reader finds that a room, a wing or an outstretched hand can keep a scene open long after its words have been read.

Annotated Details from Faust: Prints and Preparatory Drawing

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

Mephistopheles in the Air

Mephistopheles in the Air, 1828, lithograph in black on chine collé, first state of five. National Gallery of Art, Washington; 1994.60.13. National Gallery of Art, Washington; Gift of Ruth B. Benedict. Image source. Public domain. Numbers added to a separate resized overview; detail images are crops of the complete source reproduction. No colour or perspective changes.

Annotated details from Mephistopheles in the Air by Eugène Delacroix

Faust in His Study

Faust in His Study, 1828, lithograph, third state of eight. The Cleveland Museum of Art; 1933.145.3. The Cleveland Museum of Art; Gift of The Print Club of Cleveland. Image source. CC0 / Public domain. Numbers added to a separate resized overview; detail images are crops of the complete source reproduction. No colour or perspective changes.

Annotated details from Faust in His Study by Eugène Delacroix

Faust in the Prison of Marguerite

Faust in the Prison of Marguerite, 1828, lithograph. The Cleveland Museum of Art; 1933.145.18. The Cleveland Museum of Art; Gift of The Print Club of Cleveland. Image source. CC0 / Public domain. Numbers added to a separate resized overview; detail images are crops of the complete source reproduction. No colour or perspective changes.

Annotated details from Faust in the Prison of Marguerite by Eugène Delacroix

Faust and Mephistopheles on the Brocken - Städel Drawing

Faust and Mephistopheles on the Brocken, about 1826–27, black and grey brushwork over graphite. Städel Museum; 16758 Z. A preparatory drawing, distinct from a printed illustration. Städel Museum, Frankfurt am Main. Image source. Public domain. Numbered overview and detail crops made from the complete source reproduction. Public domain / Städel Museum. Original colour and geometry retained.

Annotated details from Faust and Mephistopheles on the Brocken - Städel Drawing by Eugène Delacroix

Details from FAUST: PRINTS AND PREPARATORY DRAWING

Each caption distinguishes the main work from the separate comparison. Compare the numbered details with their positions in the complete reproductions.

Mephistopheles in the Air

1

Unequal wings stretch the silhouette

One wing rises sharply while the other spreads across the right. Pale ribs divide the dark membranes and make their different directions clear.

Unequal wings stretch the silhouette detail from Mephistopheles in the Air by Eugène Delacroix
2

The head turns within the flying body

The face turns towards a bent hand beneath the spread wings. Small bright passages separate the features from the darker torso.

The head turns within the flying body detail from Mephistopheles in the Air by Eugène Delacroix
3

Bent limbs hold a suspended movement

Folded knees and long toes interrupt the sweep of the wings. The body remains airborne without adopting the straight line of a falling figure.

Bent limbs hold a suspended movement detail from Mephistopheles in the Air by Eugène Delacroix
4

The city becomes a small dark boundary

Towers and roofs cluster beneath the large flying figure. The pale round moon meets the skyline and gives the lower distance a separate light.

The city becomes a small dark boundary detail from Mephistopheles in the Air by Eugène Delacroix

Faust in His Study

5

A hanging lamp lights a confined room

The sharp frame of the lamp surrounds bright flames. Light spreads onto the wall while the surrounding corners remain dark.

A hanging lamp lights a confined room detail from Faust in His Study by Eugène Delacroix
6

An inclined head meets the skull

Faust lowers his face towards the skull on the books. The two heads occupy different heights and are joined by the direction of his attention.

An inclined head meets the skull detail from Faust in His Study by Eugène Delacroix
7

A pale robe separates the standing figure

Light passages run down the robe between dark folds and sleeves. Their broken edges describe the body without a single uniform outline.

A pale robe separates the standing figure detail from Faust in His Study by Eugène Delacroix
8

The chair occupies the approach

The empty chair stands in front of Faust, its curved supports crossing the lower room. It gives the foreground a barrier as well as an object.

The chair occupies the approach detail from Faust in His Study by Eugène Delacroix

Faust in the Prison of Marguerite

9

Two faces draw close inside the prison

Faust leans towards the seated Marguerite. Their faces and raised hands form a close exchange within the darker surrounding room.

Two faces draw close inside the prison detail from Faust in the Prison of Marguerite by Eugène Delacroix
10

Mephistopheles waits at the threshold

The figure in the open doorway raises an arm and turns towards the pair. His gesture gives the exit a different urgency from their encounter.

Mephistopheles waits at the threshold detail from Faust in the Prison of Marguerite by Eugène Delacroix
11

Bars divide a narrow light

The small window interrupts the masonry with a pale vertical opening and dark bars. Its light does not dissolve the enclosing wall.

Bars divide a narrow light detail from Faust in the Prison of Marguerite by Eugène Delacroix
12

A chain occupies the foreground

Heavy links and a cuff lie across the floor near Faust’s extended boot. These objects keep the prison physically present beneath the figures.

A chain occupies the foreground detail from Faust in the Prison of Marguerite by Eugène Delacroix

Faust and Mephistopheles on the Brocken - Städel Drawing

13

A figure reaches upwards from the left

The lower figure reaches up towards the companion above. Broad light and dark shapes make the lifted face and outstretched arms legible within the steep setting.

A figure reaches upwards from the left detail from Faust and Mephistopheles on the Brocken - Städel Drawing by Eugène Delacroix
14

The upper figure spreads arms across the slope

The upper figure spreads both arms across the sloping ground. Pale clothing and dark outlines distinguish the body from the rock and bare tree beside it.

The upper figure spreads arms across the slope detail from Faust and Mephistopheles on the Brocken - Städel Drawing by Eugène Delacroix
15

Dark forms crowd the upper landscape

Dark branching and creature-like forms crowd the upper landscape. Their sharp silhouettes interrupt the pale angular shapes of the distant mountains.

Dark forms crowd the upper landscape detail from Faust and Mephistopheles on the Brocken - Städel Drawing by Eugène Delacroix

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 Faust Lithographs. These editorial prompts invite your observations.

Reader Insights

Editorial prompt · Follow the composition

Compare the small city beneath Mephistopheles with the crowded study. How does scale change the drama?

Editorial prompt · Look again

Look from Faust and Marguerite to the figure in the prison doorway. How do their different gestures divide the scene?

Join the Conversation

Share a detail, comparison or question about Faust Lithographs below.

References

  1. Rijksmuseum, Amsterdam. “Omslag voor: Faust,” Eugène Delacroix, 1828, RP-P-2018-2141; object data and related parts, Delteil 57–74. Collection record. Source language: Dutch, with English catalogue fields. Accessed 28 October 2026. View source.
  2. Cleveland Museum of Art. “Illustrations for Faust: Faust in his dressing-room,” Eugène Delacroix, 1828, 1933.145.3; Delteil 59, state III/VIII, Gift of The Print Club of Cleveland. Collection record and image. Source language: English, with French series title and inscriptions. Accessed 28 October 2026. View source.
  3. National Gallery of Art, Washington. “Mephistopheles in the Air,” Eugène Delacroix, 1828, 1994.60.13; Delteil 58, state i/v, Gift of Ruth B. Benedict. Collection record and image. Source language: English. Accessed 28 October 2026. View source.
  4. Städel Museum, Frankfurt am Main. “Faust und Mephisto auf dem Blocksberg,” Eugène Delacroix, c. 1826–27, inventory 16758, object 16758 Z; object data and “Über das Werk.” Collection record and drawing. Source language: German. Accessed 28 October 2026. View source.
  5. Sébastien Allard and Côme Fabre, with contributions by Dominique de Font-Réaulx, Michèle Hannoosh, Mehdi Korchane and Asher Miller. Delacroix. New York: The Metropolitan Museum of Art, distributed by Yale University Press, 2018, pp. 64–68, captions for the Faust sequence. Catalogue. Source language: English. Accessed 28 October 2026. View source.
  6. Cleveland Museum of Art. “Illustrations for Faust: Faust in the prison of Marguerite,” Eugène Delacroix, 1828, 1933.145.18; Delteil 74, Gift of The Print Club of Cleveland. Collection record and image. Source language: English, with French series title and inscriptions. Accessed 28 October 2026. View source.
  7. Ashley E. Dunn. “Eugène Delacroix, Printmaker Par Excellence.” The Metropolitan Museum of Art, 7 November 2018, section on Faust. Essay. Source language: English. Accessed 28 October 2026. View source.
  8. National Museum of Western Art, Tokyo. “Goethe : FAUST in His Study,” Eugène Delacroix, 1828, G.1981-0006; Delteil 59 iii/viii, inscriptions and object data. Collection record. Source languages: Japanese and English, with French inscriptions. Accessed 28 October 2026. View source.
  9. Asher Miller, compiler, “Checklist,” entries 1–145, in Sébastien Allard and Côme Fabre, Delacroix. New York: The Metropolitan Museum of Art, 2018, pp. 275–297. Basic title, date and medium metadata consulted; not a complete catalogue of the artist’s works. Source language: English. Accessed 28 October 2026. View source.
  10. 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.
  11. 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.
  12. 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.
  13. 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.
  14. 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.
  15. 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.
  16. 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.
  17. 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.
  18. 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.
  19. 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.
  20. 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.
  21. 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.
  22. 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.
  23. 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.
  24. 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.
  25. 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.
  26. Musée du Louvre, Scènes des massacres de Scio, INV 3823, 1824. Object details and historical record. French. Accessed 28 October 2026. View source.
  27. Musée du Louvre, Mort de Sardanapale, RF 2346, 1827. Object details and historical record. French. Accessed 28 October 2026. View source.
  28. 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.
  29. 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.
  30. Musée du Louvre, Jeune orpheline au cimetière, RF 1652, 1824; object metadata and history. French. Accessed 28 October 2026. View source.
  31. 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.
  32. 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.
  33. 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.
  34. 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.
  35. 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.
  36. 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.
  37. 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.
  38. Paris Musées / Petit Palais, Le Combat du Giaour et du Pacha,1835,PDUT1162; object record and interpretation. French. Accessed 28 October 2026. View source.
  39. 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.
  40. Ackland Art Museum, Cleopatra and the Peasant,1838,59.15.1; indexed owner object fields. English. Accessed 28 October 2026. View source.
  41. The Wallace Collection, The Execution of the Doge Marino Faliero,1825–26,P282; object record and description. English. Accessed 28 October 2026. View source.
  42. 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.
  43. Musée d’Orsay, Chevaux arabes se battant dans une écurie,1860,RF1988; indexed owner object fields. French. Accessed 28 October 2026. View source.
  44. 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.
  45. The Phillips Collection, Horses Coming Out of the Sea,1860,0486; collection record and commentary. English. Accessed 28 October 2026. View source.
  46. Musée du Louvre, Jeune Tigre jouant avec sa mère,1830,RF1943; full object record and history. French. Accessed 28 October 2026. View source.
  47. Christie’s, Tigre jouant avec une tortue,1862; Rockefeller2018 sale16718 lot3, record and essay. English. Accessed 28 October 2026. View source.
  48. National Gallery of Art, Tiger, about1830,1943.3.3375; indexed owner record, inscription and visual description. English. Accessed 28 October 2026. View source.
  49. 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.
  50. Musée d’Orsay, Chasse au tigre,1854,RF1814; indexed owner record and commentary. French/English. Accessed 28 October 2026. View source.
  51. State Hermitage Museum, Lion Hunt in Morocco,1854,3853; official guide2014,entry195,pp248–249. English. Accessed 28 October 2026. View source.
  52. 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.
  53. Musée du Louvre, Frédéric Chopin, 1838, RF 1717; current owner record of the surviving fragment. French. Accessed 28 October 2026. View source.
  54. Museum Ordrupgaard, George Sand, 1838, 280WH; current owner dimensions/materials/signature record. Danish. Accessed 28 October 2026. View source.
  55. 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.
  56. 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.
  57. 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.
  58. Musée du Louvre, Nu assis, dit Mademoiselle Rose, about 1820, RF 1942 14; complete owner object record. French. Accessed 28 October 2026. View source.
  59. 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.
  60. 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.
  61. 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.
  62. 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.
  63. 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.
  64. 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.
  65. 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.
  66. 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.
  67. 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.
  68. 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.
  69. Musée du Louvre, Medea,1862,RF1402; later variant of the1838Lilleoriginal,current object record. French. Accessed 28 October 2026. View source.
  70. Musée du Louvre, The Shipwreck of Don Juan,1840,RF359; current owner fields and1883gift record. French. Accessed 28 October 2026. View source.
  71. Musée du Louvre, The Bride of Abydos,RF1398; current dimensions/bequest and broad date differing from the2018catalogue. French. Accessed 28 October 2026. View source.
  72. 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.
  73. Kimbell Art Museum, Selim and Zuleika,1857,AP1986.04; separate final version, complete indexed owner narrative/provenance. English. Accessed 28 October 2026. View source.
  74. Art Gallery of Ontario, The Bride of Lammermoor,about1826,80/83; graphite,watercolour andgouache,collection/provenance record. English. Accessed 28 October 2026. View source.
  75. Christie’s, Cromwell at Windsor Castle,1828,Johnson129;2002auction record/lotessay and1831Salon listing. English. Accessed 28 October 2026. View source.
  76. Musée Fabre, Michelangelo in His Studio,1850,868.1.40;current object fields andinterpretive notice. French. Accessed 28 October 2026. View source.
  77. Kunsthaus Zürich, Milton Dictating Paradise Lost to His Daughters,1827–28,1988/0028;current ownerPDF. English. Accessed 28 October 2026. View source.
  78. Sammlung Oskar Reinhart Am Römerholz, Tasso in the Madhouse,1839,oil60×50cm;owner object record. English. Accessed 28 October 2026. View source.
  79. The National Gallery, London, Christ on the Cross,1853,NG6433;oil73.5×59.7cm,currentobjectrecord. English. Accessed 28 October 2026. View source.
  80. 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.
  81. Brooklyn Museum, The Disciples at Emmaus,1853,50.106;oil55.2×47cm,currentobjectrecord. English. Accessed 28 October 2026. View source.
  82. INHA / Joconde, La Mise au tombeau,copyafterTitian,LyonB286;oil40×55.5cm,nineteenthcentury,currentobjectfields. French. Accessed 28 October 2026. View source.
  83. Nasjonalmuseet, Oslo, Pietà,about1850,NG.M.01179;oil35.6×27cm,currentobjectrecord. English. Accessed 28 October 2026. View source.
  84. 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.
  85. Musée du Louvre, Mariée juive à Tanger,undated,RF4614Recto;watercolour/graphite28.5×23.2cm,currentobjectrecord. French. Accessed 28 October 2026. View source.
  86. Musée du Louvre, Noce juive dans le Maroc,1839,INV3825/LP4737;oil105×140.5cm,Salon1841,currentobjectrecord. French. Accessed 28 October 2026. View source.
  87. Swiss Federal Office of Culture, Marokkanische Soldaten bei einer Gefechtsübung,1847,SOR1936.3;oil66×82cm,Römerholz,currentobjectrecord. German. Accessed 28 October 2026. View source.
  88. 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.
  89. 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.
  90. 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.
  91. 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.
  92. 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.
  93. 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.
  94. Musée du Louvre, Nature morte au homard, RF1661,1826–27, oil on canvas80.5×106.5cm. French. Accessed 28 October 2026. View source.
  95. 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.
  96. 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.
  97. 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.
  98. 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.
  99. 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.
  100. 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.
  101. 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.
  102. 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.
  103. 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.
  104. 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.
  105. 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.
  106. 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.
  107. Musée du Louvre, Hamlet et Horatio au cimetière, 1839, RF 1942, oil on canvas, 82 × 65 cm. French. Accessed 28 October 2026. View source.
  108. National Gallery, London, Ovid among the Scythians, 1859, NG6262, oil on canvas, 87.6 × 130.2 cm. English. Accessed 28 October 2026. View source.
  109. 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.
  110. 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.
  111. New York Public Library, Print Collection: Print Glossary, definitions of impression, state, edition and processes. English. Accessed 28 October 2026. View source.
  112. Museum of Fine Arts, Boston, CAMEO, Lithograph, planographic printing glossary. English. Accessed 28 October 2026. View source.
  113. Musée Eugène-Delacroix, Delacroix and colour, 5 July 2022, collection article. English. Accessed 28 October 2026. View source.
  114. Musée du Louvre, Eugène Delacroix: artist biography. French. Accessed 28 October 2026. View source.
  115. 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.
  116. The Metropolitan Museum of Art, A Wall Decorated in Spanish Tiles, 1832, 2013.1135.16; collection record. English. Accessed 28 October 2026. View source.
  117. National Gallery of Art, Washington, Mephistopheles in the Air, 1828, 1994.60.13; first state of five. English. Accessed 28 October 2026. View source.
  118. 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.
  119. 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.
  120. Musée du Louvre, Apollo Slays Python, 1850–51; INV 3818. Collection record. French. Accessed 28 October 2026. View source.
  121. 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.
  122. Splash image, Mephistopheles in the Air, 1828, lithograph in black on chine collé, first state of five. National Gallery of Art, Washington; 1994.60.13. National Gallery of Art, Washington; Gift of Ruth B. Benedict. Image source. Public domain. Resized only; whole supplied image and its appearance retained.

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