An 1832 travel study by Eugène Delacroix, combining painted tile patterns with pencil colour notes. Buy Art Prints Now
from Amazon

* As an Amazon Associate I earn from qualifying purchases.


by
Published on October 30, 2026 / Updated on October 30, 2026
Tom Gurney BSc (Hons) is an art history expert with over 20 years experience

Email: tomgurney1@gmail.com / Phone: +44 7429 011000

Journal and Letters: Introduction

A bench in moonlight, a courier about to leave Tangier, a winter evening beside the fire: the circumstances of writing matter in Eugène Delacroix’s Journal and letters. They help explain what he preserves and what escapes him. His first diary entry already describes a difficulty. Returning to the bench where he had been happy the previous evening, he cannot recover the same sensations. Writing begins with the distance between an experience and its recollection. [1]

That distance makes these writings absorbing companions to his pictures. Delacroix records colours, gestures and possible subjects, but he also examines his responses to them. He asks what has moved him, measures pleasure against ambition, and tries to carry something of a passing encounter into another day. A private entry and a letter to a friend undertake this work differently. One can admonish a future self; the other must reach someone elsewhere, with enough animation to make an absent reader feel involved.

At a Glance

  • Journal dates1822–24 and 1847–63; travel material separately preserved [2]
  • Journal edition usedPaul Flat and René Piot, 1893, volume 1 [1][3]
  • Letters edition usedPhilippe Burty, 1878; a published Tangier extract [4]
  • Main illustrationA Wall Decorated in Spanish Tiles, 1832; a travel study with colour notes [5]

Contents

  1. A journal with a long interruption
  2. 3 September 1822: a private reader and a public ambition
  3. Tangier, 25 January 1832: excitement addressed to a friend
  4. 21 February 1832: a wedding seen in fragments
  5. A tile study: words beside colour
  6. 19 January 1847: a day recovered beside the fire
  7. Returning to what has been written
  8. Annotated details

A journal with a long interruption

Delacroix began the Journal on 3 September 1822. Its early sequence stops on 5 October 1824; the sustained diary resumes in January 1847 and continues into 1863. The INHA, which holds the manuscripts, records this substantial interruption. Travel records from 1832 appear within the printed Journal, but their presence does not turn the intervening years into a continuous diary. [2]

This distinction changes how the book reads. Turning pages in chronological order can suggest an uninterrupted voice, even when the contents bring together different kinds of document. A travel note, an evening’s diary entry and a letter have different immediate uses. Their dates place them in a life; their forms tell us something about the kind of attention that life received on paper.

The editions also have their own dates. The Journal passages discussed here are available in the 1893 edition prepared by Paul Flat and René Piot. The Tangier letter appears in Philippe Burty’s 1878 collection of correspondence. Those printed arrangements allow readers to move through the writings, but Delacroix’s words must be distinguished from an editor’s connecting explanation or footnote. An account written in 1832 and a comment supplied decades later do not have the same authority about what he saw.

3 September 1822: a private reader and a public ambition

At Louroux, staying with his brother, Delacroix introduces the Journal as an undertaking repeatedly contemplated and finally begun. He wants to remember that he writes for himself alone. He hopes this privacy will encourage truthfulness and improvement: the paper will confront him with his own changes of mind. The implied reader is therefore double. There is the man writing tonight, and the later man who may return to the page and find something uncomfortable there. [1]

The moonlit bench immediately tests the promise. He has gone outside to collect himself, but the previous evening’s happiness will not return on demand. He can reconstruct circumstances more readily than sensation. His brother had been reading newspapers; he himself had copied passages from drawings after Michelangelo. The sight of that art had moved him and prepared him for further emotion. Then the moon rose, large and reddish, among the trees. The remembered scene contains art, family company and the changing light together.

The entry moves backwards because the present cannot supply what he wants. Its changes of tense and direction register the obstacles to remembering. Delacroix is happy on the evening of writing, yet that happiness is insufficient to reproduce yesterday’s. The distinction emerges through his attempt to return to a particular experience, followed by the admission that the attempt has failed.

Public success enters this supposedly private space through another piece of writing. A letter from Félix has brought news that his painting has been placed in the Luxembourg; the work was The Barque of Dante. [2] Delacroix admits how much pleasure the news continues to give him. It colours his days and encourages his desire to return to Paris. Yet he anticipates envy there, and fears that the triumph which now delights him will soon become familiar. Recognition has already generated a second movement of thought: the pleasure of being noticed leads towards an imagined dissatisfaction. [1]

His candour consists partly in allowing these impulses to coexist. The countryside offers peace, while Paris promises the professional world he wants to re-enter. A reader need not choose between a sincere lover of solitude and an ambitious painter. The entry makes their competing attractions visible within the same person, on the same evening.

Drawing offers a further way of preserving what has passed. Delacroix says he made a view in his album from the bench where he had enjoyed himself. The prose explains why that modest view mattered: it commemorated an evening. The entry then ends with a sharply different prospect, a plan to make his Tasso in Prison life-size. Recollection opens towards future work. The page accommodates both an intimate landscape and an ambitious figure subject without explaining one away as merely preparation for the other. [1]

Tangier, 25 January 1832: excitement addressed to a friend

The letter to Jean-Baptiste Pierret from Tangier has another rhythm. In Burty’s printed text, Delacroix has just walked through the city and feels overwhelmed. A courier will shortly leave for Gibraltar. He wants to send something of his astonishment before that opportunity disappears. The deadline belongs to the meaning of the letter: there is someone to tell, and a means of delivery that will not wait. [4]

He describes reception by the pasha among soldiers, the brilliance of the occasion and the unfamiliar military music. He imagines needing many more arms and far more time to convey everything. Such exaggeration communicates the scale of his excitement to a friend. It also gives Pierret a role: the recipient is invited to imagine how inadequate the writer’s ordinary resources feel in this setting.

Here the letter differs from the opening Journal entry. In 1822 Delacroix tries to make paper hold him to account. In Tangier he tries to make an absent friend share the pressure of seeing too much. His energetic manner is shaped by that social address. This does not make it dishonest; it makes it a letter. Its descriptions work alongside the relationship between sender and recipient.

The pleasure has limits which belong to the historical evidence too. Delacroix’s admiring description of Jewish women reduces them to beautiful sights and potential subjects for painting. The passage tells us about his fascinated, objectifying gaze. It cannot stand as an account of the women’s experience or as a complete description of the society around him. The intensity of a first-person voice is valuable precisely when its position remains visible.

At the close of the published extract, Delacroix compares his state to dreaming and fears that what he sees may escape him. This anxiety connects the letter with the moonlit bench a decade earlier. In each case, possession of an experience feels uncertain. But now the attempt to preserve it takes the form of hurried communication rather than an inward reckoning. The message travels outwards, making another person a witness to the writer’s excitement. [4]

Burty’s edition ends the passage with an ellipsis. It should therefore be read as a published extract, rather than assumed to reproduce every word of the handwritten letter. The editor’s paragraph immediately before its date concerns the preceding letter and belongs to Burty’s connecting narrative. Even on two adjacent printed pages, the speaking voice changes. Reading those transitions carefully protects the intimacy of Delacroix’s voice from a false impression of completeness.

Philippe Burty’s 1878 edition of Delacroix’s Letters, p. 120: the 25 January 1832 extract begins below an editorial bridge and the end of the preceding letter. A printed edition, rather than the handwritten original.
Philippe Burty’s 1878 edition of Delacroix’s Letters, p. 120: the 25 January 1832 extract begins below an editorial bridge and the end of the preceding letter. A printed edition, rather than the handwritten original. Getty Research Institute, digitised by the Internet Archive; via Wikimedia Commons. Image source. Public domain. Complete printed page rendered from the digitised PDF and proportionally resized; no colour or text changes.

Burty’s Letters, 1878, p. 121: the 25 January extract continues above, ending with an ellipsis and signature; the opening of 8 February follows below. Read with the preceding page.
Burty’s Letters, 1878, p. 121: the 25 January extract continues above, ending with an ellipsis and signature; the opening of 8 February follows below. Read with the preceding page. Getty Research Institute, digitised by the Internet Archive; via Wikimedia Commons. Image source. Public domain. Complete printed page rendered from the digitised PDF and proportionally resized; no colour or text changes.

Explore Delacroix on video

An artist overview and a closer look at Liberty Leading the People.

Eugene Delacroix Paintings

TheHistoryOfArt

An overview of Delacroix’s paintings from TheHistoryOfArt.

Watch on YouTube

21 February 1832: a wedding seen in fragments

The wedding record dated 21 February 1832 offers a third kind of writing. Its opening moves among musicians, clothing, shadows and the relations between bodies and their surroundings. A hand is dark underneath; light appears behind it. Green woodwork receives a brief notation. A woman is seen partly against a door and partly against a wall. Rather than describing every participant in turn, Delacroix repeatedly asks how one visible thing meets another. [6]

These observations become clearer if read slowly. The woman divided between door and wall is a figure whose surroundings change across her outline. The note about white in shadow preserves a relationship that a simple inventory of local colours would miss. A dark pillar on the near side of the scene establishes another contrast. Such details show attention working through differences of light and placement. They do not amount to a complete procedure for making a painting.

People occupy several levels. Children sit on the ground towards the front; spectators are on the stairs; women lean from above. The writing moves up and down this inhabited space. It pauses over a nose brightly lit on the staircase, then shifts towards figures seen against sunlit wall. The repeated changes of position give the record its movement. No single sentence gathers the entire gathering into a settled composition.

The entry also extends beyond the scene with the musicians. Evening observations introduce shops and lamps, preparations for the bride, candles, the shape of her headdress and a red veil. Delacroix records moments of illumination amid movement and noise. These passages should retain their sequence and separateness. Combining every detail into one imaginary view would destroy the distinction between what he noticed at different moments. [6]

His notes remain partial even when they are unusually exact. They preserve what caught his attention, including his comparisons and his ways of grouping people. The people described were participating in an occasion with its own purposes; the surviving text gives us the painter’s selected observations of it. Reading the names in the entry does not by itself identify particular figures in a later canvas.

The contrast with the Tangier letter is revealing. There, Delacroix turns abundance into an account of his own astonishment. Here, short phrases distribute attention through a scene. One text tells a friend how extraordinary the experience feels; the other holds on to particular visible relationships. Both face the possibility of forgetting, but they preserve different things.

A tile study: words beside colour

A small travel study of 1832, A Wall Decorated in Spanish Tiles, makes the relation between verbal and visual records tangible. The Metropolitan Museum of Art identifies it as watercolour over graphite, measuring 11.4 by 18.1 centimetres. According to the museum, Delacroix made colour notations on the spot and added the watercolour later. It is a study, rather than a facsimile page of the continuous Journal. [5]

On the cream-coloured sheet, the pattern occupies roughly the left two-thirds, leaving a broad area of exposed paper on the right. Blue floral and vase motifs alternate with interlocking violet and yellow forms. Green and red edges surround a largely empty central rectangle. Along the bottom, a strong green zigzag sits above two red horizontal strokes. The design has enough repetition to be intelligible, while its incomplete edges keep the act of recording visible.

Fine graphite lines establish divisions and connect annotations to parts of the pattern. Colour names remain beside coloured marks; the words and washes coexist. A separate red and green angle on the right isolates the relationship of two borders from the busier tiled arrangement. The sheet moves between an overall pattern and selected details, giving each a different amount of space.

This helps explain why a painter might need words even when he could draw. A colour name can preserve an identification where a contour alone cannot. A drawn division can make the location of that identification clearer. In this particular study, the museum’s account of later colouring also introduces an interval between notation and completion. The sheet holds together more than one moment of work. The Met also identifies the pattern as one Delacroix adapted in Women of Algiers in their Apartment (1834). That documented connection gives the study a place in the history of a painting without turning every travel note into an instruction for a later canvas. [5]

That interval invites comparison with the writings without making them interchangeable. The tile sheet arranges reminders around a visible pattern. The wedding record moves through figures and light in phrases. The letter carries excitement towards Pierret. Each gives an experience a form that can survive its immediate occasion. None offers unfiltered access to everything Delacroix saw.

19 January 1847: a day recovered beside the fire

When the sustained diary resumes in 1847, its opening day ranges through professional contacts, criticism and a visit to the natural history collections. Delacroix discusses a Luxembourg staircase project with the architect Gisors, meets an engraver who withdraws from reproducing a painting, and talks about an exhibition with Leleux. At the Panthéon he finds much to dislike in the decoration by Gros and Gérard. The day’s attention is already active before he reaches the museum. [3]

His criticism there concerns the legibility and effect of painting in a building. He struggles to understand some actions and figures, objects to colour and gloss, and finds the gilded framing ill suited to the monument. These are judgements about an encounter with works in place. They also expose the limits of his recollection: he admits that one of Gérard’s subjects has left him unable to remember anything about it.

The natural history cabinet changes the emotional register. Elephants, rhinoceroses, hippopotamuses, reptiles and many other forms accumulate in his description. He is struck by the proximity of what appears graceful to what appears deformed. A boa’s huge body and small head lead his attention towards the elegance of its coils. The entry allows attraction and repulsion to touch, rather than assigning beauty to a single predictable kind of form. [3]

The museum setting matters. His account includes stuffed giraffes and comments on how they have been mounted. These are not all observations of living animals. Delacroix suspects that earlier specimens were prepared by people who had not seen the animal alive: their upright necks fail to convey its peculiar forward carriage of the head. A displayed specimen can preserve a body while misrepresenting its bearing. He judges the specimen by the bearing of the animal it represents.

On leaving, he also admires the trees. The delight of the collection has widened the day’s attention. Yet the passage does not establish a first discovery of nature, or a permanent cure for professional dissatisfaction. It records a particular release from familiar preoccupations, valued strongly enough to provoke writing.

Only near the end does the reader learn the setting in which the account is being made. Delacroix has bought an agenda before returning home and now writes by his fire. The brisk itinerary, severe criticism and exuberant catalogue of animals have all led to this evening act of recollection. The page is not a transcript taken continuously while he walked. Its ending makes the earlier experiences available for another kind of examination. [3]

The contrast with 1822 is substantial without being absolute. Both beginnings attach writing to a happy day, and both depend on recovering impressions. The younger writer asks the paper to rebuke his instability. In 1847, an excursion beyond habitual concerns provides the impetus to begin again. Reading the two entries together reveals different uses for the same practice, rather than a simple passage from youthful confusion to mature certainty.

Returning to what has been written

Michèle Hannoosh emphasises that the Journal is not an annotated sketchbook: drawings are rare within it. She also describes Delacroix rereading earlier volumes, adding comments and cross-references, and drafting an unfinished Dictionary of the Fine Arts project in 1857. Her account places this revisiting within an essayistic practice associated with Montaigne. A dated entry could become part of a larger network of thought, extending beyond its original occasion. [7]

This gives the date above a passage a particular value, but also a limit. It locates an occasion; it need not explain every stage through which the text reached its printed form. The nineteenth-century editions add another layer through their selection, arrangement and notes. Preserving those distinctions allows us to hear the first-person voice more clearly, with its hesitations and changes of direction intact.

A rewarding way into these writings is to read the opening of 3 September 1822 beside 19 January 1847, then place the letter of 25 January 1832 against the wedding notes of 21 February. Keep the recipient in view when reading the letter, and follow the shifts of attention when reading the notes. The tile study offers a visual counterpart: a reminder can be exact about one relationship while leaving much else open.

Delacroix’s writings reward this sustained attention because their interest lies beyond the information they yield about paintings. They show a man discovering what an experience becomes when it is remembered, described, judged or sent to a friend. The moonlit bench cannot restore yesterday’s pleasure. The courier imposes a deadline. The fire provides a place to reconsider the day. In each setting, the act of writing gives passing experience a new duration.

Annotated Details from Journal and Letters

The numbered points identify visible features discussed in this article. Return from each detail to the whole composition. A Wall Decorated in Spanish Tiles, 1832, watercolour over graphite. The Metropolitan Museum of Art; 2013.1135.16. The Metropolitan Museum of Art; Gift from the Karen B. Cohen Collection of Eugène Delacroix, in honor of Dr. Harvey Wolinsky, 2013. 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 Journal and Letters by Eugène Delacroix

Details from JOURNAL AND LETTERS

Compare the travel study’s pattern, colour notes and borders with their places on the complete sheet.

1

Colour names point into the design

Pencil words and fine leader lines connect the left margin with separate coloured shapes. The sheet keeps colour information alongside the pattern.

Colour names point into the design detail from Journal and Letters by Eugène Delacroix
2

A frame interrupts the patterned field

Red and green bands surround an almost empty rectangle. The surrounding tiles continue in different directions while this opening holds a clear boundary.

A frame interrupts the patterned field detail from Journal and Letters by Eugène Delacroix
3

Floral units repeat with small variations

Purple and yellow curves turn around pale centres. Their repeated shapes form a field without becoming mechanically identical.

Floral units repeat with small variations detail from Journal and Letters by Eugène Delacroix
4

The lower edge changes rhythm

Green zigzags and long red strokes replace the small floral units. The broader bands give the lower edge a different pace.

The lower edge changes rhythm detail from Journal and Letters by Eugène Delacroix

Further reading

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

  • 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.

  • 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.

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 Journal and Letters. These editorial prompts invite your observations.

Reader Insights

Editorial prompt · Follow the composition

Compare the tile study’s written notes with its painted pattern. What can words preserve that a drawing leaves open?

Editorial prompt · Look again

Read a diary entry and a letter with their dates and audiences in mind. How does the form change the kind of attention each records?

Join the Conversation

Share a detail, comparison or question about Journal and Letters below.

References

  1. Eugène Delacroix, “3 septembre 1822,” Journal, edited by Paul Flat and René Piot, vol. 1 (Paris: Plon, 1893), pp. 1–4. French text, Wikisource. Source language: French. Accessed 28 October 2026. View source.
  2. Élodie Desserle, “Dans l’intimité d’Eugène Delacroix (1/2),” Institut national d’histoire de l’art, article accompanying the 2018 exhibitions, updated 6 November 2024. INHA article. Source language: French. Accessed 28 October 2026. View source.
  3. Eugène Delacroix, “19 janvier 1847,” Journal, edited by Paul Flat and René Piot, vol. 1 (Paris: Plon, 1893), pp. 235–239. French text, Wikisource. Source language: French. Accessed 28 October 2026. View source.
  4. Eugène Delacroix, letter to Jean-Baptiste Pierret, Tangier, 25 January 1832, published extract in Lettres de Eugène Delacroix (1815 à 1863), collected and published by Philippe Burty (Paris: A. Quantin, 1878), pp. 120–121; preceding editorial bridge distinguished from the letter. Digitised edition. Source language: French. Accessed 28 October 2026. View source.
  5. The Metropolitan Museum of Art, “Eugène Delacroix: A Wall Decorated in Spanish Tiles,” 1832, watercolour over graphite, 11.4 × 18.1 cm, accession 2013.1135.16, collection record and image. Museum record. Source language: English; annotations on the study: French. Accessed 28 October 2026. View source.
  6. Eugène Delacroix, “21 février 1832,” Journal, edited by Paul Flat and René Piot, vol. 1 (Paris: Plon, 1893), pp. 154–157, artist’s dated text. French text, Wikisource. Source language: French. Accessed 28 October 2026. View source.
  7. Michèle Hannoosh, “ ‘Painting His Thoughts on Paper’: Delacroix and His Journal,” in Delacroix, edited by Sébastien Allard and Côme Fabre (New York: The Metropolitan Museum of Art, 2018), pp. 235–243, especially pp. 235–239. Exhibition catalogue. Source language: English. Accessed 28 October 2026. View source.
  8. 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.
  9. 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.
  10. 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.
  11. 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.
  12. 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.
  13. 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.
  14. 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.
  15. 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.
  16. 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.
  17. 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.
  18. 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.
  19. 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.
  20. 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.
  21. 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.
  22. 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.
  23. 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.
  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, Scènes des massacres de Scio, INV 3823, 1824. Object details and historical record. French. Accessed 28 October 2026. View source.
  26. Musée du Louvre, Mort de Sardanapale, RF 2346, 1827. Object details and historical record. French. Accessed 28 October 2026. View source.
  27. 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.
  28. 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.
  29. Musée du Louvre, Jeune orpheline au cimetière, RF 1652, 1824; object metadata and history. French. Accessed 28 October 2026. View source.
  30. 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.
  31. 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.
  32. 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.
  33. 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.
  34. 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.
  35. 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.
  36. 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.
  37. Paris Musées / Petit Palais, Le Combat du Giaour et du Pacha,1835,PDUT1162; object record and interpretation. French. Accessed 28 October 2026. View source.
  38. 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.
  39. Ackland Art Museum, Cleopatra and the Peasant,1838,59.15.1; indexed owner object fields. English. Accessed 28 October 2026. View source.
  40. The Wallace Collection, The Execution of the Doge Marino Faliero,1825–26,P282; object record and description. English. Accessed 28 October 2026. View source.
  41. 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.
  42. Musée d’Orsay, Chevaux arabes se battant dans une écurie,1860,RF1988; indexed owner object fields. French. Accessed 28 October 2026. View source.
  43. 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.
  44. The Phillips Collection, Horses Coming Out of the Sea,1860,0486; collection record and commentary. English. Accessed 28 October 2026. View source.
  45. Musée du Louvre, Jeune Tigre jouant avec sa mère,1830,RF1943; full object record and history. French. Accessed 28 October 2026. View source.
  46. Christie’s, Tigre jouant avec une tortue,1862; Rockefeller2018 sale16718 lot3, record and essay. English. Accessed 28 October 2026. View source.
  47. National Gallery of Art, Tiger, about1830,1943.3.3375; indexed owner record, inscription and visual description. English. Accessed 28 October 2026. View source.
  48. 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.
  49. Musée d’Orsay, Chasse au tigre,1854,RF1814; indexed owner record and commentary. French/English. Accessed 28 October 2026. View source.
  50. State Hermitage Museum, Lion Hunt in Morocco,1854,3853; official guide2014,entry195,pp248–249. English. Accessed 28 October 2026. View source.
  51. 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.
  52. Musée du Louvre, Frédéric Chopin, 1838, RF 1717; current owner record of the surviving fragment. French. Accessed 28 October 2026. View source.
  53. Museum Ordrupgaard, George Sand, 1838, 280WH; current owner dimensions/materials/signature record. Danish. Accessed 28 October 2026. View source.
  54. 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.
  55. 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.
  56. 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.
  57. Musée du Louvre, Nu assis, dit Mademoiselle Rose, about 1820, RF 1942 14; complete owner object record. French. Accessed 28 October 2026. View source.
  58. 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.
  59. 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.
  60. 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.
  61. 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.
  62. 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.
  63. 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.
  64. 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.
  65. 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.
  66. 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.
  67. 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.
  68. Musée du Louvre, Medea,1862,RF1402; later variant of the1838Lilleoriginal,current object record. French. Accessed 28 October 2026. View source.
  69. Musée du Louvre, The Shipwreck of Don Juan,1840,RF359; current owner fields and1883gift record. French. Accessed 28 October 2026. View source.
  70. Musée du Louvre, The Bride of Abydos,RF1398; current dimensions/bequest and broad date differing from the2018catalogue. French. Accessed 28 October 2026. View source.
  71. 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.
  72. Kimbell Art Museum, Selim and Zuleika,1857,AP1986.04; separate final version, complete indexed owner narrative/provenance. English. Accessed 28 October 2026. View source.
  73. Art Gallery of Ontario, The Bride of Lammermoor,about1826,80/83; graphite,watercolour andgouache,collection/provenance record. English. Accessed 28 October 2026. View source.
  74. Christie’s, Cromwell at Windsor Castle,1828,Johnson129;2002auction record/lotessay and1831Salon listing. English. Accessed 28 October 2026. View source.
  75. Musée Fabre, Michelangelo in His Studio,1850,868.1.40;current object fields andinterpretive notice. French. Accessed 28 October 2026. View source.
  76. Kunsthaus Zürich, Milton Dictating Paradise Lost to His Daughters,1827–28,1988/0028;current ownerPDF. English. Accessed 28 October 2026. View source.
  77. Sammlung Oskar Reinhart Am Römerholz, Tasso in the Madhouse,1839,oil60×50cm;owner object record. English. Accessed 28 October 2026. View source.
  78. The National Gallery, London, Christ on the Cross,1853,NG6433;oil73.5×59.7cm,currentobjectrecord. English. Accessed 28 October 2026. View source.
  79. 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.
  80. Brooklyn Museum, The Disciples at Emmaus,1853,50.106;oil55.2×47cm,currentobjectrecord. English. Accessed 28 October 2026. View source.
  81. INHA / Joconde, La Mise au tombeau,copyafterTitian,LyonB286;oil40×55.5cm,nineteenthcentury,currentobjectfields. French. Accessed 28 October 2026. View source.
  82. Nasjonalmuseet, Oslo, Pietà,about1850,NG.M.01179;oil35.6×27cm,currentobjectrecord. English. Accessed 28 October 2026. View source.
  83. 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.
  84. Musée du Louvre, Mariée juive à Tanger,undated,RF4614Recto;watercolour/graphite28.5×23.2cm,currentobjectrecord. French. Accessed 28 October 2026. View source.
  85. Musée du Louvre, Noce juive dans le Maroc,1839,INV3825/LP4737;oil105×140.5cm,Salon1841,currentobjectrecord. French. Accessed 28 October 2026. View source.
  86. Swiss Federal Office of Culture, Marokkanische Soldaten bei einer Gefechtsübung,1847,SOR1936.3;oil66×82cm,Römerholz,currentobjectrecord. German. Accessed 28 October 2026. View source.
  87. 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.
  88. 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.
  89. 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.
  90. 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.
  91. 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.
  92. 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.
  93. Musée du Louvre, Nature morte au homard, RF1661,1826–27, oil on canvas80.5×106.5cm. French. Accessed 28 October 2026. View source.
  94. 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.
  95. 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.
  96. 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.
  97. 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.
  98. 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.
  99. 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.
  100. 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.
  101. 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.
  102. 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.
  103. 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.
  104. 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.
  105. 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.
  106. Musée du Louvre, Hamlet et Horatio au cimetière, 1839, RF 1942, oil on canvas, 82 × 65 cm. French. Accessed 28 October 2026. View source.
  107. National Gallery, London, Ovid among the Scythians, 1859, NG6262, oil on canvas, 87.6 × 130.2 cm. English. Accessed 28 October 2026. View source.
  108. 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.
  109. 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.
  110. New York Public Library, Print Collection: Print Glossary, definitions of impression, state, edition and processes. English. Accessed 28 October 2026. View source.
  111. Museum of Fine Arts, Boston, CAMEO, Lithograph, planographic printing glossary. English. Accessed 28 October 2026. View source.
  112. Musée Eugène-Delacroix, Delacroix and colour, 5 July 2022, collection article. English. Accessed 28 October 2026. View source.
  113. Musée du Louvre, Eugène Delacroix: artist biography. French. Accessed 28 October 2026. View source.
  114. 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.
  115. The Metropolitan Museum of Art, A Wall Decorated in Spanish Tiles, 1832, 2013.1135.16; collection record. English. Accessed 28 October 2026. View source.
  116. National Gallery of Art, Washington, Mephistopheles in the Air, 1828, 1994.60.13; first state of five. English. Accessed 28 October 2026. View source.
  117. 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.
  118. 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.
  119. Musée du Louvre, Apollo Slays Python, 1850–51; INV 3818. Collection record. French. Accessed 28 October 2026. View source.
  120. 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.
  121. Splash image, A Wall Decorated in Spanish Tiles, 1832, watercolour over graphite. The Metropolitan Museum of Art; 2013.1135.16. This travel study combines a drawing with colour notes; it is distinct from the continuous Journal. The Metropolitan Museum of Art; Gift from the Karen B. Cohen Collection of Eugène Delacroix, in honor of Dr. Harvey Wolinsky, 2013. Image source. CC0 / 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