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

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

Delacroix in Morocco: Introduction

In 1832, Eugène Delacroix travelled to Morocco with a French diplomatic mission headed by Charles de Mornay. France had invaded Algeria in 1830; the painter's opportunity to travel belonged to the political world created by that invasion. He arrived as a member of an official party, whose receptions, introductions and movements helped determine what he could see.[1] The journey nevertheless produced records much more varied than an account of diplomatic business: hurried letters, descriptions of a wedding, studies of ornament and arrangements of figures around a mounted ruler. Their differences matter. Each preserves something that the others cannot, and each leaves something out.

The most revealing way to follow Delacroix through Morocco is to move between those records and the paintings that followed. A courtyard described in February 1832 became a canvas dated 1839. An audience with the sultan supplied a subject still being reworked in 1845. A small study of tiles preserved a pattern that could be detached from its original setting and incorporated into another interior. The journey gave Delacroix particular encounters and visual problems to return to. The finished pictures show how much could happen between seeing a place and painting it.

At a Glance

  • JourneyJanuary–July 1832; Morocco, Spain and Algeria [2]
  • Diplomatic settingFrench mission headed by Charles de Mornay [1]
  • Written recordsLetters to Pierret and wedding notes from 1832 [3][4]
  • Later paintingsWomen of Algiers, 1834; Jewish Wedding, 1839; Sultan, 1845 [5][6][7]

Contents

  1. A diplomatic itinerary
  2. Tangier: more to see than time to record
  3. A wedding recorded across time
  4. A wall reduced to pattern and colour
  5. Algiers is another encounter
  6. Recasting the audience with the sultan
  7. What a travelling record can preserve
  8. Annotated details

A diplomatic itinerary

Delacroix's travels extended from January to July 1832. He reached Tangier in late January, went inland to Meknes in March and attended the sultan's audience on 22 March. By early April he was back in Tangier. Spain followed in May, and Algiers and Oran in June.[2] This was a sequence of distinct places and circumstances. Morocco, Spain and Algeria should not dissolve into a single imagined destination, any more than the pictures made afterwards should be treated as canvases painted beside the events they represent.

The diplomatic setting is especially important at Meknes. The audience was an encounter between a Moroccan ruler and a French delegation. Delacroix's position within that delegation allowed him to witness a ceremonial arrangement of sovereign, attendants and guards. The painter's later choices could change the balance between those participants, but the occasion itself had a purpose independent of his art. People were receiving an embassy, conducting business and displaying authority; they were not assembled merely to provide a painter with a subject.

For the broader place of these months in his career, the biography of Delacroix follows the journey alongside his work before and after it. Here, the smaller scale of individual documents is more useful. A departure date establishes where he could have been. A letter reveals what occupied him at a particular moment. A drawing can register a shape or a relation of colours without explaining the circumstances in which he obtained it. Reading them together gives a fuller account while preserving their different kinds of evidence.

Tangier: more to see than time to record

Writing from Tangier to his friend Jean-Baptiste Pierret on 25 January, Delacroix described being overwhelmed by the city. A courier would shortly leave for Gibraltar, and he wanted to send something before the opportunity disappeared. The reception by the pasha, the soldiers and the military music crowded into his account. To convey it all, he imagined needing a multiplication of both his arms and the hours available. He ended by comparing his condition to dreaming, with the accompanying fear that what he saw might escape him.[3] The Louvre preserves a signed, single-page letter to Pierret bearing that date.[8]

The passage begins with the need to communicate, passes rapidly among impressions and finishes with anxiety about loss. The deadline belongs to the letter's meaning. Delacroix was choosing words under pressure. His imagined extra arms turn that pressure into a painter's problem: impressions arrive before he can give them durable form.

His description of Jewish women also exposes the limits of that excited gaze. He presents them through admiration of their appearance and their potential as subjects for painting. The language tells us about his appetite for images, not about the women's own understanding of the encounter. They enter the letter as things seen and desired for art. Recognising that imbalance does not require dismissing the document. It makes the document more precise: this is evidence of Delacroix's response, with its enthusiasms and objectifications, rather than a transparent account of North African life.[3]

The opening of his letter of 8 February complicates any picture of effortless access. He describes gradually finding ways to draw people, and mentions money as one means of overcoming reluctance. His own dismissive explanation of that reluctance should not become our explanation of everyone around him. What the passage establishes is that encounters had to be negotiated. In the same passage, the glare from white houses troubles his eyes, while rides and time in a garden offer pleasure and relief. The traveller who fears bringing back too little is also a person whose attention is affected by fatigue, discomfort and intervals of rest.[3]

These details give the letters their particular force. The dazzling city is not an uninterrupted visual feast. It is experienced through a body, through social permissions and through the practical business of sending news home. Delacroix's desire to preserve what he saw repeatedly meets limits. His journal and letters preserve the language of those encounters alongside the drawings and paintings, rather than simply explaining the pictures after the fact.

A wedding recorded across time

The journal entry dated 21 February 1832 offers a different rhythm. Delacroix records a Jewish wedding through musicians, the distribution of light and shadow, green woodwork and people occupying different levels of the building. He notices people on stairs, women above and children among the company. Notes concerning the bride describe her headpiece, red veil and candles.[4] Sound, colour, architecture and movement share the page. No single kind of observation exhausts the occasion.

The entry's succession of details is essential to its character. A reader encounters one observation and then another, following attention as it shifts. The bride's appearance belongs to a particular part of that succession. A list of visual details can preserve the memory of an event without arranging all its moments into a single view. Nor do names in a written account automatically identify the figures of a painting made years later. A person remembered in words and a person assigned a place on canvas require more than resemblance to be securely connected.

Delacroix's Jewish Wedding in Morocco, now in the Louvre, is dated 1839 and was exhibited at the Salon in 1841.[6] In the painting, the bright courtyard wall rises above a crowded band of figures. Green doors, shutters and balcony rails give the building a strong framework. Shade thickens beneath the galleries; a canopy crosses the upper opening. The architecture gives the gathering several distinct places from which to watch, listen or participate.

At the lower centre, three musicians make a compact group. Their instruments and gestures direct attention across the courtyard towards the dancer at the left, who raises one arm. Seated figures curve around the open floor, while a man seen from behind occupies the foreground. Above them, spectators lean into the space from the gallery. The painting offers more than a collection of costumes or individual portraits. Looking itself becomes part of the scene: people watch from different distances and heights, and our view joins theirs from the courtyard's edge.

The raised arm is an especially effective hinge between the crowded lower register and the pale wall. It lifts a human movement into the large area of light without filling that area. The wall's relative emptiness makes the figures below seem denser. At the right, the stairs and doorway continue the gathering upwards and backwards, preventing the company from becoming a flat row. The green woodwork connects these different levels, carrying the eye around the building even where figures are half concealed in shadow.

The dancer is not the bride. According to the account accompanying the painting at the Salon, as preserved in the Louvre's discussion, the bride is absent from this scene.[6] That distinction changes how the journal should be brought to the picture. The notes about a bridal headpiece, veil and candles do not provide labels for the conspicuous woman on the left. Delacroix selected a particular aspect of a wedding celebration and made it pictorially intelligible. He did not compress every noted stage of the occasion into this courtyard.

The comparison between entry and canvas is therefore strongest where it reveals a change of form. Written observations unfold through time; the painting holds people, architecture and light together in an arranged space. The green woodwork and division between brightness and shade connect the two, but their shared details do not erase the years between them. The dedicated account of Jewish Wedding in Morocco considers the finished canvas more closely. Within the journey, its importance lies in showing how an occasion could remain available for a later, sustained act of composition.

Jewish Wedding in Morocco, 1839, oil on canvas; exhibited 1841. Musée du Louvre; INV 3825. The dancer at the left is distinct from the absent bride.
Jewish Wedding in Morocco, 1839, oil on canvas; exhibited 1841. Musée du Louvre; INV 3825. The dancer at the left is distinct from the absent bride. Shonagon, 8 August 2025, faithful reproduction via Wikimedia Commons; Musée du Louvre. Image source. Public domain. Resized only; native appearance preserved.

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A wall reduced to pattern and colour

One of the smallest surviving records makes that process unusually tangible. The Metropolitan Museum of Art's A Wall Decorated in Spanish Tiles, dated 1832, is a watercolour over graphite measuring only 11.4 by 18.1 centimetres. The museum explains that Delacroix noted colours on the spot and added the watercolour later.[9] This particular sheet records more than one stage of work. Its appearance should not, however, be turned into a rule that all his travel watercolours were made in the same way.

The painted design occupies roughly the left two-thirds of the horizontal sheet. Blue stars and floral forms alternate with purple and yellow motifs. A rectangle outlined in green and red interrupts the pattern near the centre; at the bottom, a green zigzag sits above two red horizontal strokes. Faint graphite divisions organise the repeated units. Around the painted area, leader lines and French colour words connect verbal reminders to particular parts of the design. A separate red and green angle on the right isolates a relation that might otherwise disappear within the larger pattern.

The broad unpainted area is as revealing as the coloured portion. Delacroix did not need to fill the paper with a complete illusion of a wall. He preserved enough repetitions to show how the ornament worked, and enough labels to distinguish colours that drawing alone could not retain. Written words and painted marks perform complementary tasks. The sheet is practical without being visually indifferent: the alternation of dense ornament and open paper allows the pattern's construction to remain legible.

The title identifies Spanish tiles, but does not by itself settle the precise location in which the study was made. It should not be casually described as a Moroccan journal page. What can be followed securely is a later use: the Met identifies the pattern as one Delacroix adapted in Women of Algiers in Their Apartment.[9] A relatively small decorative observation thus travelled into a much larger figurative painting. The artist could preserve a motif faithfully enough for reuse while changing its scale, setting and relation to other things.

Algiers is another encounter

The Louvre's Women of Algiers in Their Apartment dates from 1834.[5] Its title locates it in Algeria, and its place in the story follows the later Algerian stage of the journey. Delacroix made no oil paintings during the travels; the canvases developed afterwards from material gathered and remembered.[10] Calling this an Algerian painting does not sever it from the Moroccan experience. It prevents the particular geography of one encounter from being absorbed into another.

Delacroix also understood aspects of North African life through comparison with antiquity.[10] That analogy belongs to his way of seeing. It offered a European artist a connection between living people and a past already familiar through art, but it could also obscure their present. The people he encountered inhabited the political and social world of 1832. Treating them as survivals from an ancient world would remove precisely the contemporary circumstances that brought him among them.

Three seated women occupy the lower part of the picture, while a standing woman at the right turns beside a hanging curtain. The grouping spreads across overlapping carpets, cushions and a patterned floor. Behind the figures, tiles, a mirror and a narrow red cabinet divide the wall into unequal areas. The room is constructed through these relations: tall vertical accents above, bodies and textiles below, and a darker recess that gives the central grouping depth.

The standing figure introduces a strong change of direction. Her turned body and raised hand meet the curtain's diagonal, while the seated figures keep the composition low. At the left, a reclining woman extends towards the picture's edge. Near the centre, the other two women form a closer pair, their pale clothing catching light against the darker interior. These arrangements permit an analysis of the painting's rhythm and illumination. They cannot tell us that the women were bored, confined, contented or available to the visitor. A pose supplies no reliable access to an individual's private thoughts.

The tile study makes the relationship between observation and arrangement particularly clear here. A pattern could become part of the wall surrounding figures drawn from a different encounter. Its reuse does not invalidate the painting, but it does change the kind of truth we ask it to provide. The interior is a composed image with a history of selected parts. Delacroix's presence in North Africa, enabled by diplomacy and mediated through introductions and permissions, did not give him unrestricted knowledge of every household or community.

The distinctions between these women, the Jewish wedding company and the embassy's participants should remain visible. A single assertion about what all Muslim or Jewish women permitted a European artist to see would conceal the negotiations that the letters themselves disclose. The fuller discussion of Women of Algiers in Their Apartment follows the canvas as a work in its own right. Its contribution here is to show how the journey's materials crossed boundaries within Delacroix's art even when the original encounters remained distinct.

Women of Algiers in Their Apartment, 1834, oil on canvas. Musée du Louvre; INV 3824. This Algerian subject belongs to a different encounter from the Moroccan wedding.
Women of Algiers in Their Apartment, 1834, oil on canvas. Musée du Louvre; INV 3824. This Algerian subject belongs to a different encounter from the Moroccan wedding. Image source. Public domain.

Recasting the audience with the sultan

The Met's brown-ink Study for The Sultan of Morocco and His Entourage, dated 1832–33, gives the diplomatic occasion a compact, horizontal shape. The museum identifies Mornay and an interpreter at the far right.[1] At the centre, the sultan sits on horseback beneath a parasol rising to the left. A gateway anchors that side of the composition, while ranks of guards are suggested towards the right. Individual contours give way to repeated loops as the crowd recedes.

The differences in descriptive density are striking. The horse and the people nearest it receive enough articulated lines to establish their bodies, dress and spacing. More distant figures can be conveyed by a repeated curve. Much of the paper remains unpainted, and stronger areas of ink gather around faces, folds and the underside of the parasol. This economy makes the arrangement intelligible without supplying an equivalent amount of information about everyone present. The sheet records relationships within a scene while already giving some of them greater weight than others.

In the 1845 Toulouse painting, The Sultan of Morocco, the horizontal arrangement has become a tall composition.[7] The ruler in white sits left of centre on a grey horse. The parasol reaches into an expansive blue sky; ochre walls and a gateway stretch behind the gathering. Guards and their upright weapons form a repeated rhythm at the right. The foreground figures are substantial presences, rather than the abbreviated signs of the ink study. The horse's lowered head brings the mounted group towards the viewer, while the high parasol extends the ruler's prominence above the crowd.

The sky changes the encounter's scale. In the study, paper remains open around a swiftly bounded arrangement. In the oil, the great field of blue gives the wall and parasol room to assert their silhouettes. White clothing stands out against the warm architecture and darker surrounding bodies. The sultan's distinction is built from these relationships as much as from his central importance to the occasion. The painting makes authority visible through height, colour, spacing and repetition.

The French delegation visible in the study does not appear in the final composition. That is a significant change, but the image alone cannot establish its political motive. Curator Ashley Dunn connects Delacroix's revisions with the altered context of relations between France and Morocco by 1845.[11] Her interpretation helps place the later painting in its own historical moment. It should remain an interpretation, rather than being converted into a declaration by Delacroix that every omission served a stated political programme.

The interval is fundamental. The finished canvas belongs to 1845 as well as to the memory of an audience in 1832. The study and final Sultan of Morocco show the persistence of a subject across that interval, together with its capacity to change. What began as an encounter involving a French mission became a painting in which the Moroccan ruler and his surrounding company occupy the whole visible human world.

Study for The Sultan of Morocco and His Entourage, 1832–33, brush and brown ink. The Metropolitan Museum of Art; 2013.1135.20. The French delegation appears at the far right.
Study for The Sultan of Morocco and His Entourage, 1832–33, brush and brown ink. The Metropolitan Museum of Art; 2013.1135.20. The French delegation appears at the far right. The Metropolitan Museum of Art, Open Access. Image source. CC0 / Public domain. Resized only; native appearance preserved.

The Sultan of Morocco, 1845, oil on canvas. Musée des Augustins, Toulouse; 2004 1 99. The later composition gives the sky and ruler a different prominence.
The Sultan of Morocco, 1845, oil on canvas. Musée des Augustins, Toulouse; 2004 1 99. The later composition gives the sky and ruler a different prominence. Didier Descouens, 26 November 2017, via Wikimedia Commons; Musée des Augustins. Image source. CC BY-SA 4.0. Resized only; native appearance preserved.

What a travelling record can preserve

Spain offers a smaller but instructive uncertainty. The Musée de Grenoble dates Une place à Cadix to the Spanish visit of May 1832. Its account follows Delacroix's departure from Tangier on 10 May, a week's quarantine and his disembarkation at Cádiz on 17 May. The visit included Cádiz and Seville. Yet the drawing was described as a street in Seville in the 1864 estate sale; its location was subsequently corrected to the Plaza de San Francisco in Cádiz.[12]

The correction matters beyond a place name. A travel drawing may be close to an observed scene, while the words attached to it later can be mistaken. Date, title, location and the image itself answer different questions. The sheet's history cautions against imagining that every surviving label carries the artist's immediate certainty. The same care is needed when bringing a journal description to a painted figure, or a diplomatic itinerary to a finished canvas.

Delacroix's records also preserve different scales of attention. In the letter, a city's impressions compete with a departing courier. At the wedding, sound and changing groups occupy a succession of notes. On the tile sheet, a wall becomes a portable arrangement of repeated forms and named colours. Around the sultan, abbreviated bodies establish a ceremonial order that can later be enlarged and revised. The strength of the surviving material lies in this variety. It allows us to follow an artist looking for ways to retain what interested him, without pretending that he retained everything.

Morocco remained productive for Delacroix because its records were both particular and open to further work. Green woodwork, a mounted ruler, a remembered gathering or a relation between colours could survive the circumstances of their first observation. In the later paintings, such details acquired new neighbours, proportions and emphases. To follow those changes is to see the journey more clearly: an episode shaped by diplomacy and negotiated encounters, preserved through selective acts of attention, and renewed through composition long after the traveller returned.

Annotated Details from Delacroix in Morocco

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 Delacroix in Morocco by Eugène Delacroix

Details from DELACROIX IN MOROCCO

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 Delacroix in Morocco 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 Delacroix in Morocco 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 Delacroix in Morocco 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 Delacroix in Morocco 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 Delacroix in Morocco. These editorial prompts invite your observations.

Reader Insights

Editorial prompt · Follow the composition

Follow the pencil lines from the tile patterns to the colour notes. How does the sheet keep information for later use?

Editorial prompt · Look again

Compare the Sultan study with the 1845 painting. What changes in the arrangement and the people included?

Join the Conversation

Share a detail, comparison or question about Delacroix in Morocco below.

References

  1. The Metropolitan Museum of Art, Eugène Delacroix, Study for The Sultan of Morocco and His Entourage, 1832–33, brush and brown ink, 19.4 × 25.2 cm, accession 2013.1135.20; collection record and description. English. Accessed 28 October 2026. View source.
  2. Mar Borobia, Museo Nacional Thyssen-Bornemisza, Jinete árabe, collection commentary for Eugène Delacroix, about 1854, accession 1972.20; journey chronology. Spanish. Accessed 28 October 2026. View source.
  3. Eugène Delacroix, Lettres de Eugène Delacroix (1815 à 1863), edited by Philippe Burty (Paris: A. Quantin, 1878), pp. 120–121: published excerpt of the letter to Jean-Baptiste Pierret, Tangier, 25 January 1832, and opening passage dated 8 February 1832. French. Accessed 28 October 2026. View source.
  4. Eugène Delacroix, Journal, entry for 21 February 1832, in Journal de Eugène Delacroix, edited by Paul Flat and René Piot (Paris: Plon, 1893), vol. 1, pp. 154–157; Wikisource transcription. French. Accessed 28 October 2026. View source.
  5. Musée du Louvre, Eugène Delacroix, Femmes d'Alger dans leur appartement, 1834, INV 3824; collection record. French, with English catalogue interface. Accessed 28 October 2026. View source.
  6. Musée du Louvre, Eugène Delacroix, Noce juive, 1839, INV 3825; collection record, exhibition history and account of the Salon description. French. Accessed 28 October 2026. View source.
  7. Musée des Augustins, Toulouse, Eugène Delacroix, Moulay Abd-er-Rahman, Sultan du Maroc, sortant de son palais de Meknès, 1845, oil on canvas, 2004 1 99; collection identity and history. French. Accessed 28 October 2026. View source.
  8. Musée du Louvre, Eugène Delacroix, Lettre à Jean-Baptiste Pierret, 25 janvier 1832, A 555, Recto; collection record identifying the signed, single-page letter. French. Accessed 28 October 2026. View source.
  9. 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 description. English. Accessed 28 October 2026. View source.
  10. Sébastien Allard and Côme Fabre, Delacroix (New York: The Metropolitan Museum of Art, 2018), selected discussion, pp. 77, 87, 90–93 and 99, concerning the journey, subsequent paintings and work from notebooks and memory. English. Accessed 28 October 2026. View source.
  11. Michael Cirigliano II, interview with Ashley Dunn, The Metropolitan Museum of Art, Delacroix's Devotion to Drawing: A Curator Conversation with Ashley Dunn, 12 October 2018; discussion of revisions to the sultan composition. English. Accessed 28 October 2026. View source.
  12. Musée de Grenoble, Eugène Delacroix, Une place à Cadix, May 1832; collection essay and object record, including travel dates and the correction of the estate-sale identification. French. Accessed 28 October 2026. View source.
  13. 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.
  14. 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.
  15. 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.
  16. 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.
  17. 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.
  18. 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.
  19. 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.
  20. 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.
  21. 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.
  22. 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.
  23. 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.
  24. 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.
  25. 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.
  26. 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.
  27. 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.
  28. 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.
  29. 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.
  30. Musée du Louvre, Scènes des massacres de Scio, INV 3823, 1824. Object details and historical record. French. Accessed 28 October 2026. View source.
  31. Musée du Louvre, Mort de Sardanapale, RF 2346, 1827. Object details and historical record. French. Accessed 28 October 2026. View source.
  32. 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.
  33. 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.
  34. Musée du Louvre, Jeune orpheline au cimetière, RF 1652, 1824; object metadata and history. French. Accessed 28 October 2026. View source.
  35. 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.
  36. 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.
  37. 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.
  38. 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.
  39. 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.
  40. 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.
  41. 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.
  42. Paris Musées / Petit Palais, Le Combat du Giaour et du Pacha,1835,PDUT1162; object record and interpretation. French. Accessed 28 October 2026. View source.
  43. 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.
  44. Ackland Art Museum, Cleopatra and the Peasant,1838,59.15.1; indexed owner object fields. English. Accessed 28 October 2026. View source.
  45. The Wallace Collection, The Execution of the Doge Marino Faliero,1825–26,P282; object record and description. English. Accessed 28 October 2026. View source.
  46. 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.
  47. Musée d’Orsay, Chevaux arabes se battant dans une écurie,1860,RF1988; indexed owner object fields. French. Accessed 28 October 2026. View source.
  48. 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.
  49. The Phillips Collection, Horses Coming Out of the Sea,1860,0486; collection record and commentary. English. Accessed 28 October 2026. View source.
  50. Musée du Louvre, Jeune Tigre jouant avec sa mère,1830,RF1943; full object record and history. French. Accessed 28 October 2026. View source.
  51. Christie’s, Tigre jouant avec une tortue,1862; Rockefeller2018 sale16718 lot3, record and essay. English. Accessed 28 October 2026. View source.
  52. National Gallery of Art, Tiger, about1830,1943.3.3375; indexed owner record, inscription and visual description. English. Accessed 28 October 2026. View source.
  53. 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.
  54. Musée d’Orsay, Chasse au tigre,1854,RF1814; indexed owner record and commentary. French/English. Accessed 28 October 2026. View source.
  55. State Hermitage Museum, Lion Hunt in Morocco,1854,3853; official guide2014,entry195,pp248–249. English. Accessed 28 October 2026. View source.
  56. 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.
  57. Musée du Louvre, Frédéric Chopin, 1838, RF 1717; current owner record of the surviving fragment. French. Accessed 28 October 2026. View source.
  58. Museum Ordrupgaard, George Sand, 1838, 280WH; current owner dimensions/materials/signature record. Danish. Accessed 28 October 2026. View source.
  59. 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.
  60. 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.
  61. 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.
  62. Musée du Louvre, Nu assis, dit Mademoiselle Rose, about 1820, RF 1942 14; complete owner object record. French. Accessed 28 October 2026. View source.
  63. 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.
  64. 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.
  65. 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.
  66. 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.
  67. 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.
  68. 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.
  69. 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.
  70. 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.
  71. 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.
  72. 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.
  73. Musée du Louvre, Medea,1862,RF1402; later variant of the1838Lilleoriginal,current object record. French. Accessed 28 October 2026. View source.
  74. Musée du Louvre, The Shipwreck of Don Juan,1840,RF359; current owner fields and1883gift record. French. Accessed 28 October 2026. View source.
  75. Musée du Louvre, The Bride of Abydos,RF1398; current dimensions/bequest and broad date differing from the2018catalogue. French. Accessed 28 October 2026. View source.
  76. 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.
  77. Kimbell Art Museum, Selim and Zuleika,1857,AP1986.04; separate final version, complete indexed owner narrative/provenance. English. Accessed 28 October 2026. View source.
  78. Art Gallery of Ontario, The Bride of Lammermoor,about1826,80/83; graphite,watercolour andgouache,collection/provenance record. English. Accessed 28 October 2026. View source.
  79. Christie’s, Cromwell at Windsor Castle,1828,Johnson129;2002auction record/lotessay and1831Salon listing. English. Accessed 28 October 2026. View source.
  80. Musée Fabre, Michelangelo in His Studio,1850,868.1.40;current object fields andinterpretive notice. French. Accessed 28 October 2026. View source.
  81. Kunsthaus Zürich, Milton Dictating Paradise Lost to His Daughters,1827–28,1988/0028;current ownerPDF. English. Accessed 28 October 2026. View source.
  82. Sammlung Oskar Reinhart Am Römerholz, Tasso in the Madhouse,1839,oil60×50cm;owner object record. English. Accessed 28 October 2026. View source.
  83. The National Gallery, London, Christ on the Cross,1853,NG6433;oil73.5×59.7cm,currentobjectrecord. English. Accessed 28 October 2026. View source.
  84. 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.
  85. Brooklyn Museum, The Disciples at Emmaus,1853,50.106;oil55.2×47cm,currentobjectrecord. English. Accessed 28 October 2026. View source.
  86. INHA / Joconde, La Mise au tombeau,copyafterTitian,LyonB286;oil40×55.5cm,nineteenthcentury,currentobjectfields. French. Accessed 28 October 2026. View source.
  87. Nasjonalmuseet, Oslo, Pietà,about1850,NG.M.01179;oil35.6×27cm,currentobjectrecord. English. Accessed 28 October 2026. View source.
  88. 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.
  89. Musée du Louvre, Mariée juive à Tanger,undated,RF4614Recto;watercolour/graphite28.5×23.2cm,currentobjectrecord. French. Accessed 28 October 2026. View source.
  90. Musée du Louvre, Noce juive dans le Maroc,1839,INV3825/LP4737;oil105×140.5cm,Salon1841,currentobjectrecord. French. Accessed 28 October 2026. View source.
  91. Swiss Federal Office of Culture, Marokkanische Soldaten bei einer Gefechtsübung,1847,SOR1936.3;oil66×82cm,Römerholz,currentobjectrecord. German. Accessed 28 October 2026. View source.
  92. 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.
  93. 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.
  94. 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.
  95. 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.
  96. 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.
  97. 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.
  98. Musée du Louvre, Nature morte au homard, RF1661,1826–27, oil on canvas80.5×106.5cm. French. Accessed 28 October 2026. View source.
  99. 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.
  100. 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.
  101. 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.
  102. 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.
  103. 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.
  104. 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.
  105. 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.
  106. 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.
  107. 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.
  108. 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.
  109. 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.
  110. 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.
  111. Musée du Louvre, Hamlet et Horatio au cimetière, 1839, RF 1942, oil on canvas, 82 × 65 cm. French. Accessed 28 October 2026. View source.
  112. National Gallery, London, Ovid among the Scythians, 1859, NG6262, oil on canvas, 87.6 × 130.2 cm. English. Accessed 28 October 2026. View source.
  113. 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.
  114. 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.
  115. New York Public Library, Print Collection: Print Glossary, definitions of impression, state, edition and processes. English. Accessed 28 October 2026. View source.
  116. Museum of Fine Arts, Boston, CAMEO, Lithograph, planographic printing glossary. English. Accessed 28 October 2026. View source.
  117. Musée Eugène-Delacroix, Delacroix and colour, 5 July 2022, collection article. English. Accessed 28 October 2026. View source.
  118. Musée du Louvre, Eugène Delacroix: artist biography. French. Accessed 28 October 2026. View source.
  119. 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.
  120. The Metropolitan Museum of Art, A Wall Decorated in Spanish Tiles, 1832, 2013.1135.16; collection record. English. Accessed 28 October 2026. View source.
  121. National Gallery of Art, Washington, Mephistopheles in the Air, 1828, 1994.60.13; first state of five. English. Accessed 28 October 2026. View source.
  122. 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.
  123. 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.
  124. Musée du Louvre, Apollo Slays Python, 1850–51; INV 3818. Collection record. French. Accessed 28 October 2026. View source.
  125. 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.
  126. Splash image, A Wall Decorated in Spanish Tiles, 1832, watercolour over graphite. The Metropolitan Museum of Art; 2013.1135.16. A travel study with colour notes. 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