Massacre at Chios by Eugène Delacroix Buy Art Prints Now
from Amazon

* As an Amazon Associate I earn from qualifying purchases.


by
Tom Gurney BSc (Hons) is an art history expert with over 20 years experience
Published on June 19, 2020 / Updated on October 30, 2026
Email: tomgurney1@gmail.com / Phone: +44 7429 011000

Massacre at Chios: Introduction

In Eugène Delacroix’s Massacre at Chios, the people nearest us have almost nowhere to go. They sit, lean or collapse along the lower edge of the canvas, while an immense sky opens above them. At the right, a mounted man rises over the captives. Near his horse, an older woman looks upwards; below her, an infant presses against a mother who can no longer respond. The painting offers many points of human contact, but no single action gathers them into a rescue, a victory or an explanation. Its subject is the terrible interval in which people remain alive while the power to determine their future has passed to others.

The Louvre’s full title makes that interval explicit: Scènes des massacres de Scio. Familles grecques attendant la mort ou l’esclavage—scenes of the massacres at Chios, with Greek families awaiting death or enslavement. Painted in oil on canvas between January and July 1824, the work measures 419 × 354 cm. Its monumental height gives the seated and fallen figures a physical presence quite different from their appearance in a small reproduction. The painting belongs to the Louvre, where it is inventoried as INV 3823. [1]

The event behind it occurred in 1822, during the Greek War of Independence from the Ottoman Empire. Delacroix’s painting responds to the massacre on the Aegean island of Chios two years later; its date is not the date of the violence it represents. Asher Miller’s account of its development places the beginning of work on the great canvas in January 1824. [2] The distinction matters because this is a constructed public image of a recent catastrophe. Its figures convey the consequences of violence without supplying a documentary reconstruction of one particular encounter.

At a Glance

  • Date1824 [1]
  • MediumOil on canvas [1]
  • Dimensions419 × 354 cm [1]
  • Collection / recordMusée du Louvre; INV 3823 [1]

This work across Eugène Delacroix’s career

Contents

  1. A foreground divided against an open distance
  2. The rider and the unequal power to move
  3. Three lives brought together at the lower right
  4. Why the scattered action troubled viewers
  5. From separate studies to a public crowd
  6. Colour, exposure and the spectator
  7. A contested painting acquired by the state
  8. Annotated details

A foreground divided against an open distance

The composition can initially be grasped as two unequal masses. On the left, heads and shoulders rise above a broad base of limbs and cloth. On the right, the horse, rider and captive woman create a steeper ascent. Between them, the eye finds an opening towards the landscape. Yet this division is less tidy than a pair of balanced pyramids would suggest. Bodies cross in front of one another, and the horizontal reach of the foreground continually interrupts the movement upwards.

At the left, a nearly upright man appears behind the reclining figures. His light clothing and exposed chest distinguish him from the darker figure farther back. Below him, a woman leans towards a bare-chested man whose legs extend across the lower centre. Their proximity suggests a relationship of care: her body inclines towards his, and the overlapping forms hold them together. His lowered arm and slack posture give little indication that he can support himself. We can recognise dependence without assigning the pair a name or inventing a conversation between them.

Farther left, smaller figures press against the edge. Their scale and placement make them seem crowded out by the adults, although they remain close enough to share the same shallow strip of ground. At several points, a hand resting on another person provides a more legible connection than a face. These contacts matter because they are among the few actions still available to the captives. Touch can join two people locally even when it cannot alter the larger situation.

The central opening does not resolve their confinement. Looking through it, we encounter more small figures, uneven ground and distant activity. The foreground bodies make a barrier across the route our eyes might otherwise take into the picture. Space is visible beyond them, but a convincing passage into it is difficult to find. The landscape offers room to move to people who cannot use it.

Above the crowded foreground, the sky occupies a remarkable amount of the canvas. Its broad horizontal expanses contrast with the bent limbs and interrupted contours below. Smoke and darkened areas disturb the distance, but the setting remains extensive and open. The land continues beyond the individual people who occupy so much of our attention. That disproportion makes their predicament feel at once immediate and part of a catastrophe extending out of sight.

The rider and the unequal power to move

The mounted figure supplies the strongest upward thrust. His pale head covering stands against the sky, while his darker clothing merges with the horse and the mass beneath him. The horse’s raised forequarters and turned head introduce abrupt movement above the seated captives. Its energy has no equivalent among the people on the ground.

At the far right, a woman’s exposed body stretches upwards beside the horse, her raised arms pulling the eye towards the rider’s level. Bound to the horse, she makes captivity visible through an imbalance of support and control. The mounted man occupies a stable position above her; her body is extended and displaced. One person has the means to carry others away, while another is caught in the consequences of that movement.

The rider attracts attention partly because the horse is so visually animated. There is a risk in that attraction. The most forceful movement in the painting belongs to the armed captor, and the eye may follow its sweep before attending to the woman beside him. Once noticed, her predicament changes the meaning of that energy. What initially reads as pictorial excitement becomes an exercise of power over an exposed body.

This is one reason the work resists a simple division between an active scene on the right and a passive one on the left. Activity offers no reassurance here. It can mean removal, coercion or further violence. Conversely, the slight inclinations and contacts among the captives can carry more human significance than the rider’s commanding silhouette. The painting makes the scale of a gesture an unreliable measure of its moral weight.

Three lives brought together at the lower right

The older woman sits near the centre-right, close to the dead mother and living infant. Her patterned clothing encloses a comparatively compact, upright body. Her lifted face turns away from the mother below her, directing attention towards something above and beyond the immediate group. Her expression can suggest apprehension or exhausted endurance, but the face does not tell us exactly what she thinks or sees.

Below her, the mother’s pale upper body lies across a darker spread of fabric. The fall of her head and the absence of any answering gesture distinguish her from the seated woman. The infant remains physically close, reaching towards a body whose stillness the child cannot understand. The contrast is devastating because the child’s dependence continues after the mother’s capacity to care has ended.

Elsewhere in the painting, touching another person may offer limited support. Here the same ordinary relationship has become impossible. The infant’s movement has a purpose, but it cannot achieve what it seeks. Delacroix brings the consequences of the massacre into the scale of a bodily need. No account of military movements is necessary to understand that need, although the historical title identifies the violence responsible for this situation.

Miller relates this group to the intertwined beginnings of Chios and The Natchez. He describes an earlier watercolour design for Chios in which a mother looks towards her dead infant, before the final canvas reverses their conditions: the mother is dead and the child alive. He also connects the final motif with an account transmitted by Olivier Voutier and with earlier artistic representations of a dead mother and surviving child. His suggestion that this change helped prompt Delacroix to set The Natchez aside is an interpretation of the works’ development, rather than a proven explanation of the artist’s decision. [2]

The change is consequential within this painting. Beside the infant and mother, the older woman introduces another generation, but the proximity of three ages offers no reassuring sequence of family continuity. The group places survival, death and dependence within a few feet of one another. The older woman’s upright posture does not establish that she can intervene. Her presence makes the child less isolated spatially while leaving its immediate need unresolved.

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

Why the scattered action troubled viewers

The absence of a commanding rescuer is especially striking in a painting on this scale. Our attention moves from one group to another without finding a figure who can speak for all of them. Faces turn in different directions. The rider does not draw everyone into a shared confrontation, and the dead mother does not become the focus of a collective response. Several small situations coexist without converging on a decisive moment.

Sébastien Allard and Côme Fabre’s 2018 catalogue essay records how unsettling this arrangement was to contemporary critics. In their account, Adolphe Thiers objected to the lack of a principal scene, while Charles Paul Landon found the figures confused and the foreground obstructed. The authors also describe attacks on the painting’s handling: its forceful application of colour and conspicuous surface seemed objectionable to viewers expecting a different kind of finish. These responses are known here through the catalogue’s discussion of the criticism. [9]

Such objections illuminate a real difficulty in looking at the work. We are asked to give attention to several people whose situations cannot be reduced to the fortunes of one protagonist. The extended foreground makes them available to view almost simultaneously, yet understanding their separate conditions takes time. Looking from the reclining man to the old woman, then from her to the infant, does not move us through successive stages of a plot. It makes us revisit the same unresolved present from different positions.

The catalogue also reports the phrase “massacre of painting”, whose origin is uncertain and which may have come from Antoine-Jean Gros. It should not be treated as an indisputably documented remark by him. Allard and Fabre further note that some critics compared the canvas with a plague scene. [9] That comparison belongs to the painting’s reception; it does not establish a medical diagnosis for the people represented.

The charge against the scattered composition can help us recognise what it achieves. There is no privileged point from which the suffering becomes orderly. A central hero might offer the viewer a way to identify with effective action. Here, even when the eye finds an upright figure or a vigorous movement, that discovery does not restore agency to the captives. The difficulty of organising what we see is part of the encounter with people whose lives have been violently disorganised.

From separate studies to a public crowd

The specificity of a head or limb can make a painted person feel individually present without making that person a documented portrait of someone from Chios. Preparatory work belongs to the studio process through which the historical subject was imagined. Allard and Fabre discuss Delacroix’s development of the picture through successive sittings with models, emphasising the role of separately observed figures in the larger composition. [9] The identities of those models and the identities of the represented captives are different questions.

A related graphite sheet in the Metropolitan Museum of Art, Head, Shoulder, and Foot, Studies for “Scenes from the Chios Massacres”, preserves that attention to separate bodily forms. The Met dates it to 1823; it measures 19.4 × 30.2 cm and bears the accession number 2013.1135.22. Its owner connects it with the painting, but that connection does not mean every drawn head was transferred directly to the canvas. [10] The study of heads, shoulder and foot allows a closer examination of those individual investigations.

In the finished painting, bodily differences remain important. A supported torso, a lowered head, an extended arm and a face raised towards the sky do not merely repeat one expression of distress. Each requires us to read a different relation between weight, movement and support. The people share a collective danger while retaining distinct physical conditions. That combination helps explain why the picture can be crowded without becoming a single, uniformly reacting crowd.

Colour, exposure and the spectator

The large contrasts remain legible even in a small reproduction. Pale skin stands out against dark clothing and shadow. The warm reds and browns of the older woman’s garments hold the lower right, while a cooler expanse of sky recedes above the figures. Light areas draw the eye from one exposed body to another. The picture’s visual richness therefore does not exist at a safe distance from its distressing subject: it helps bring the bodies into view.

The contrast between cloth and skin is particularly consequential. Garments give some figures enclosing shapes, while exposed torsos and limbs appear vulnerable beside them. The dead mother’s body is conspicuous against the material on which she lies. The captive beside the horse is similarly difficult to overlook. Looking closely is necessary to grasp their situation, yet that close looking also makes us conscious of their exposure.

Linda Walsh’s Open University course places this difficulty within the Western stereotypes and expectations surrounding Delacroix’s representations of the East. Her discussion of Chios asks how the rider’s energy complicates the spectator’s response to the victims, and how the presentation of women’s bodies bears on the implied audience. These are critical questions about representation, rather than evidence for diagnosing the artist’s private psychology. [11]

The canvas makes those questions concrete. The viewer can move freely between the faces, the horse and the exposed bodies; the captives cannot move freely within their world. We can examine them at length without receiving an answering account of who they are. Sympathy does not remove that imbalance. Nor does the painting supply enough individual history to make our visual access equivalent to knowing the people whose suffering it invokes.

Keeping that distinction in view allows the figures to remain human without turning them into illustrations of fixed national or religious traits. The old woman’s stillness is a painted posture under threat, not proof of an innate passivity. The rider’s violence defines his role in this composition, not the character of an entire people. The historical conflict gives the scene its setting, while the picture’s arrangement governs the unequal encounter that we actually see.

The painting’s appearance has also changed through conservation. In the Louvre’s 2024 account of its Delacroix programme, Côme Fabre describes the restoration of Chios, completed in 2020, as recovering colour relationships obscured by darkened varnish. [12] That finding gives the contrast between bodily exposure and the expansive setting a material history. Older reproductions can still convey the arrangement, while their colour balance may differ from the treated canvas.

A contested painting acquired by the state

The Salon of 1824 opened to the public on 25 August. Despite the hostile responses, the French state purchased Delacroix’s canvas for 6,000 francs on 23 September that year. Its later institutional history involved repeated movements between Versailles, the Louvre and the Musée du Luxembourg. The Louvre records its presentation there from November 1874. [1] That history is more complicated than a direct transfer from the Salon to its present museum.

Official acquisition did not settle the problems the picture presented, and those problems remain central to its force. The broad view and the intimate bodily details keep pulling in different directions. The landscape invites the eye onwards; a fallen arm or a child’s reach brings it back. The mounted man offers movement without deliverance. The family groups offer connection without security.

To look at Massacre at Chios is to spend time among these incomplete relationships. The infant’s need persists; the older woman’s face remains lifted; the reclining figures remain dependent on the ground and on one another. Delacroix gives civilian suffering the dimensions of a great public painting while withholding the decisive action that might make it easier to assimilate. What stays with us is the proximity of people who can still be seen, touched and carried away, but whose futures are no longer theirs to command.

Annotated Details from Massacre at Chios

The numbered points identify visible features discussed in this article. Return from each detail to the whole composition. Massacre at Chios — Eugène Delacroix

Annotated details from Massacre at Chios by Eugène Delacroix

Details from MASSACRE AT CHIOS

Compare these details with the complete painting to follow the relationships between bodies, movement and the surrounding space.

1

Mother and infant

The mother lies still while the infant presses close to her exposed body. Their contact makes continuing dependence visible even when an answering gesture has become impossible.

Mother and infant detail from Massacre at Chios by Eugène Delacroix
2

The mounted captor and bound woman

The pale horse rises above the people on the ground, while the woman beside it stretches upwards with bound wrists. Movement and height belong to unequal positions of control.

The mounted captor and bound woman detail from Massacre at Chios by Eugène Delacroix
3

Bodies held close at the left

A woman leans towards the reclining man, whose lowered arm and extended legs give little support. Their overlapping forms make a local connection within the larger crowd.

Bodies held close at the left detail from Massacre at Chios by Eugène Delacroix
4

The opening into the distance

Small figures and disturbed ground continue beyond the gap between the foreground groups. The open landscape offers depth without providing the captives with an obvious route away.

The opening into the distance detail from Massacre at Chios 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 Massacre at Chios. These editorial prompts invite your observations.

Reader Insights

Editorial prompt · Follow the composition

Look through the gap between the foreground groups. How does the open landscape change your response to the people?

Editorial prompt · Look again

Compare the mounted figure with the seated and fallen bodies. Where is movement concentrated?

Join the Conversation

Share a detail, comparison or question about Massacre at Chios below.

References

  1. Musée du Louvre, Département des Peintures, Scènes des massacres de Scio. Familles grecques attendant la mort ou l’esclavage, Eugène Delacroix, 1824, INV 3823; C 3. Collection record, “Description”, “Caractéristiques matérielles”, “Lieux et dates” and “Données historiques”; execution, Salon opening, acquisition and subsequent movements. Source language: French. Accessed 28 October 2026. View source.
  2. Asher Miller, “The Act of Looking in Delacroix’s Early Narrative Paintings”, in Sébastien Allard and Côme Fabre, Delacroix, exhibition catalogue, New York: The Metropolitan Museum of Art, 2018, pp. 230–231 (PDF pp. 246–247), catalogue PDF. Source language: English. Accessed 28 October 2026. View source.
  3. 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.
  4. Musée du Louvre, Scènes des massacres de Scio, INV 3823, 1824. Object details and historical record. French. Accessed 28 October 2026. View source.
  5. 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.
  6. 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.
  7. 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.
  8. 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.
  9. Sébastien Allard and Côme Fabre, “The Sphinx of Modern Painting”, section “‘Fame Is Not an Empty Word’: 1822–32”, in Delacroix, exhibition catalogue, New York: The Metropolitan Museum of Art, 2018, pp. 18–19 and 22–25 (PDF pp. 34–35 and 38–41), catalogue PDF. Source language: English. Accessed 28 October 2026. View source.
  10. The Metropolitan Museum of Art, Head, Shoulder, and Foot, Studies for “Scenes from the Chios Massacres”, Eugène Delacroix, 1823, accession 2013.1135.22. Collection record, introductory commentary and visible “Artwork Details”. Source language: English. Accessed 28 October 2026. View source.
  11. Linda Walsh, Delacroix, The Open University, OpenLearn, sections 6.3, “Western perceptions – Oriental stereotypes”, and 6.7, “Delacroix – Orientalism and personal identity”. Source language: English. Accessed 28 October 2026. View source.
  12. Côme Fabre, interview by Olivier Saretta, Musée du Louvre, “La restauration de la Liberté ‘rend justice au travail d’un coloriste de génie’”, 30 April 2024, discussion of the restoration programme and Scènes des massacres de Scio. Source language: French. Accessed 28 October 2026. View source.
  13. 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.
  14. 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.
  15. 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.
  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. 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, Mort de Sardanapale, RF 2346, 1827. Object details and historical record. French. Accessed 28 October 2026. View source.
  26. 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.
  27. 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.
  28. Musée du Louvre, Jeune orpheline au cimetière, RF 1652, 1824; object metadata and history. French. Accessed 28 October 2026. View source.
  29. 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.
  30. 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.
  31. 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.
  32. 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.
  33. 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.
  34. 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.
  35. 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.
  36. Paris Musées / Petit Palais, Le Combat du Giaour et du Pacha,1835,PDUT1162; object record and interpretation. French. Accessed 28 October 2026. View source.
  37. 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.
  38. Ackland Art Museum, Cleopatra and the Peasant,1838,59.15.1; indexed owner object fields. English. Accessed 28 October 2026. View source.
  39. The Wallace Collection, The Execution of the Doge Marino Faliero,1825–26,P282; object record and description. English. Accessed 28 October 2026. View source.
  40. 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.
  41. Musée d’Orsay, Chevaux arabes se battant dans une écurie,1860,RF1988; indexed owner object fields. French. Accessed 28 October 2026. View source.
  42. 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.
  43. The Phillips Collection, Horses Coming Out of the Sea,1860,0486; collection record and commentary. English. Accessed 28 October 2026. View source.
  44. Musée du Louvre, Jeune Tigre jouant avec sa mère,1830,RF1943; full object record and history. French. Accessed 28 October 2026. View source.
  45. Christie’s, Tigre jouant avec une tortue,1862; Rockefeller2018 sale16718 lot3, record and essay. English. Accessed 28 October 2026. View source.
  46. National Gallery of Art, Tiger, about1830,1943.3.3375; indexed owner record, inscription and visual description. English. Accessed 28 October 2026. View source.
  47. 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.
  48. Musée d’Orsay, Chasse au tigre,1854,RF1814; indexed owner record and commentary. French/English. Accessed 28 October 2026. View source.
  49. State Hermitage Museum, Lion Hunt in Morocco,1854,3853; official guide2014,entry195,pp248–249. English. Accessed 28 October 2026. View source.
  50. 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.
  51. Musée du Louvre, Frédéric Chopin, 1838, RF 1717; current owner record of the surviving fragment. French. Accessed 28 October 2026. View source.
  52. Museum Ordrupgaard, George Sand, 1838, 280WH; current owner dimensions/materials/signature record. Danish. Accessed 28 October 2026. View source.
  53. 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.
  54. 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.
  55. 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.
  56. Musée du Louvre, Nu assis, dit Mademoiselle Rose, about 1820, RF 1942 14; complete owner object record. French. Accessed 28 October 2026. View source.
  57. 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.
  58. 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.
  59. 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.
  60. 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.
  61. 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.
  62. 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.
  63. 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.
  64. 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.
  65. 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.
  66. 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.
  67. Musée du Louvre, Medea,1862,RF1402; later variant of the1838Lilleoriginal,current object record. French. Accessed 28 October 2026. View source.
  68. Musée du Louvre, The Shipwreck of Don Juan,1840,RF359; current owner fields and1883gift record. French. Accessed 28 October 2026. View source.
  69. Musée du Louvre, The Bride of Abydos,RF1398; current dimensions/bequest and broad date differing from the2018catalogue. French. Accessed 28 October 2026. View source.
  70. 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.
  71. Kimbell Art Museum, Selim and Zuleika,1857,AP1986.04; separate final version, complete indexed owner narrative/provenance. English. Accessed 28 October 2026. View source.
  72. Art Gallery of Ontario, The Bride of Lammermoor,about1826,80/83; graphite,watercolour andgouache,collection/provenance record. English. Accessed 28 October 2026. View source.
  73. Christie’s, Cromwell at Windsor Castle,1828,Johnson129;2002auction record/lotessay and1831Salon listing. English. Accessed 28 October 2026. View source.
  74. Musée Fabre, Michelangelo in His Studio,1850,868.1.40;current object fields andinterpretive notice. French. Accessed 28 October 2026. View source.
  75. Kunsthaus Zürich, Milton Dictating Paradise Lost to His Daughters,1827–28,1988/0028;current ownerPDF. English. Accessed 28 October 2026. View source.
  76. Sammlung Oskar Reinhart Am Römerholz, Tasso in the Madhouse,1839,oil60×50cm;owner object record. English. Accessed 28 October 2026. View source.
  77. The National Gallery, London, Christ on the Cross,1853,NG6433;oil73.5×59.7cm,currentobjectrecord. English. Accessed 28 October 2026. View source.
  78. 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.
  79. Brooklyn Museum, The Disciples at Emmaus,1853,50.106;oil55.2×47cm,currentobjectrecord. English. Accessed 28 October 2026. View source.
  80. INHA / Joconde, La Mise au tombeau,copyafterTitian,LyonB286;oil40×55.5cm,nineteenthcentury,currentobjectfields. French. Accessed 28 October 2026. View source.
  81. Nasjonalmuseet, Oslo, Pietà,about1850,NG.M.01179;oil35.6×27cm,currentobjectrecord. English. Accessed 28 October 2026. View source.
  82. 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.
  83. Musée du Louvre, Mariée juive à Tanger,undated,RF4614Recto;watercolour/graphite28.5×23.2cm,currentobjectrecord. French. Accessed 28 October 2026. View source.
  84. Musée du Louvre, Noce juive dans le Maroc,1839,INV3825/LP4737;oil105×140.5cm,Salon1841,currentobjectrecord. French. Accessed 28 October 2026. View source.
  85. Swiss Federal Office of Culture, Marokkanische Soldaten bei einer Gefechtsübung,1847,SOR1936.3;oil66×82cm,Römerholz,currentobjectrecord. German. Accessed 28 October 2026. View source.
  86. 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.
  87. 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.
  88. 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.
  89. 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.
  90. 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.
  91. 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.
  92. Musée du Louvre, Nature morte au homard, RF1661,1826–27, oil on canvas80.5×106.5cm. French. Accessed 28 October 2026. View source.
  93. 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.
  94. 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.
  95. 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.
  96. 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.
  97. 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.
  98. 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.
  99. 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.
  100. 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.
  101. 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.
  102. 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.
  103. 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.
  104. 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.
  105. Musée du Louvre, Hamlet et Horatio au cimetière, 1839, RF 1942, oil on canvas, 82 × 65 cm. French. Accessed 28 October 2026. View source.
  106. National Gallery, London, Ovid among the Scythians, 1859, NG6262, oil on canvas, 87.6 × 130.2 cm. English. Accessed 28 October 2026. View source.
  107. 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.
  108. 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.
  109. New York Public Library, Print Collection: Print Glossary, definitions of impression, state, edition and processes. English. Accessed 28 October 2026. View source.
  110. Museum of Fine Arts, Boston, CAMEO, Lithograph, planographic printing glossary. English. Accessed 28 October 2026. View source.
  111. Musée Eugène-Delacroix, Delacroix and colour, 5 July 2022, collection article. English. Accessed 28 October 2026. View source.
  112. Musée du Louvre, Eugène Delacroix: artist biography. French. Accessed 28 October 2026. View source.
  113. 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.
  114. The Metropolitan Museum of Art, A Wall Decorated in Spanish Tiles, 1832, 2013.1135.16; collection record. English. Accessed 28 October 2026. View source.
  115. National Gallery of Art, Washington, Mephistopheles in the Air, 1828, 1994.60.13; first state of five. English. Accessed 28 October 2026. View source.
  116. 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.
  117. 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.
  118. Musée du Louvre, Apollo Slays Python, 1850–51; INV 3818. Collection record. French. Accessed 28 October 2026. View source.
  119. Sotheby’s, A Turkish Man on a Grey Horse, catalogued under Eugène Delacroix; sale N07716, 2001, lot 20. English. Accessed 28 October 2026. View source.

More DELACROIX Artworks

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