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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’s Murals and Public Commissions: Introduction

To look at Eugène Delacroix’s murals is to become aware of where one is standing. A horse rears above a curved boundary; trees rise far beyond a pair of struggling bodies; a chariot breaks through clouds overhead. These paintings make architecture part of their drama. The distance between a figure and the spectator, the curve of a ceiling and the relationship between facing walls all help determine how the story unfolds.

Delacroix’s commissions took him into royal, parliamentary, museum and religious settings. Their different functions matter: a ceremonial reception room and a chapel did not address the same audience in the same circumstances. The 2018 exhibition catalogue Delacroix stresses these differences of site and viewing conditions, including the restricted access to some decorations in the nineteenth century. It also treats mural painting and easel painting as connected activities within his career.[1] The word “public” therefore needs care. These were paintings made for institutions, but their original spectators did not constitute a single, freely circulating public.

At a Glance

  • Principal campaigns1833–1861; commission and completion dates differ [2][3]
  • Parliamentary settingsPalais Bourbon and Palais du Luxembourg [4][5]
  • Louvre ceilingApollo Slays Python, 1850–51; INV 3818 [6]
  • MaterialsOil-and-wax wall paintings and mounted canvases, according to site [2][3]

Contents

  1. The Salon du Roi: colour rising through a room
  2. The parliamentary library: knowledge under threat
  3. A monumental painting can have several hands
  4. The Luxembourg library: antiquity gathered around Dante
  5. Apollo at the Louvre: a ceiling organised by light
  6. Saint-Sulpice: two walls, two forms of resistance
  7. Materials, survival and the painter’s labour
  8. Annotated details

The Salon du Roi: colour rising through a room

The Salon du Roi at the Palais Bourbon was a reception room for Louis-Philippe. Delacroix received the commission in 1833 and carried out the principal campaign in 1833–37. River personifications in subdued brown grisaille occupy the lower zone; stronger colour, including red, draws attention upwards towards the allegories. Industry, Agriculture, Justice and War belong to the decorative programme. The walls and friezes were painted on site with oil and wax, producing a matt effect, while ceiling canvases were prepared in the workshop and attached to the architecture by marouflage.[2] The room’s inauguration in 1838 was a later event than the beginning of the commission.[4]

This vertical sequence makes colour a means of organising attention. Muted figures establish a lower register before the eye reaches more emphatic passages above. Within a royal reception room, allegorical abundance served a ceremonial setting: it should not be mistaken for a direct address to a revolutionary crowd.

The parliamentary library: knowledge under threat

The library of the Palais Bourbon offered a much longer architectural sequence. Commissioned in 1838 and completed late in 1847, its decoration extends through five cupolas, each with four pendentives, and two terminal hemicycles. The room measures approximately 42 metres long, 10 metres wide and 12 metres high. At its ends, Orpheus bringing the arts and peace confronts the destructive world of Attila. Delacroix’s principal assistants included Pierre Andrieu, Louis de Planet and Gustave Lassalle-Bordes.[4]

Law occupies the central cupola; Theology, Poetry, Philosophy and the Sciences organise the others. The library’s classification of learning thus becomes a framework for painting. The hemicycles were executed on site in oil and wax, whereas the canvas pendentives could be worked on partly in the studio. Scaffolding had to be erected and dismantled around parliamentary sessions; cracks, protection of the building and unsuccessful requests for additional payment complicated the undertaking.[7]

That arrangement places knowledge between images of its cultivation and destruction. Books below and painted subjects above belong to the same institutional setting. Yet the programme’s opposition between “civilisation” and “barbarism” is a nineteenth-century cultural construction. It reveals how this institution represented the value and vulnerability of learning; it does not provide a neutral ranking of peoples.

The full hemicycle of Attila the Hun makes that vulnerability concrete. At the centre, a rider on a rearing white horse appears to dominate the scene. The horse’s raised forelegs interrupt the space before it, while the rider’s lifted arm prolongs the upward thrust. To the right, mounted figures and an orange banner crowd into the action. Their gathering force gives the advance a direction even though the central horse seems momentarily checked.

Looking left changes the emphasis. A fleeing adult carries a child away; another figure raises an arm; a winged figure holds a lyre. Below them lies the crowned woman identified in the institutional programme as Italy.[7] Her extended body spreads across the foreground, beneath the level of the horse. These figures give different forms to the consequences of invasion: flight, appeal, exposed cultural emblems and physical collapse. The central rider commands attention, but the picture distributes its human cost around him.

The curved gold boundary is crucial. It holds the scene together as a broad architectural field, encouraging the eye to travel from one group to another. A close view of the rider alone would lose the relation between his height and the bodies below, as well as the family escaping at the opposite edge. In the wider composition, the horse’s energetic silhouette encounters a foreground already obstructed by people and things. Forward movement and impediment coexist.

There is also a tension between the apparent openness of the sky and the congestion along the lower edge. Above, the field has room to expand; below, arms, legs, drapery and animals overlap. The spectator can grasp the central action quickly, then discover how little space remains for those caught beneath it. This is a compelling image of violent ascendancy without requiring us to suppose that Delacroix intended to glorify the conqueror. Its force lies in the relationship between the spectacular aggressor and the vulnerable figures who prevent the scene from becoming a simple equestrian triumph.

Attila Followed by His Barbarian Hordes Tramples Italy and the Arts, completed 1847. Library of the Palais Bourbon. The full hemicycle retains the curved architectural boundary.
Attila Followed by His Barbarian Hordes Tramples Italy and the Arts, completed 1847. Library of the Palais Bourbon. The full hemicycle retains the curved architectural boundary. The Yorck Project / Directmedia, via Wikimedia Commons. Image source. Public domain. Resized only; native appearance preserved.

A monumental painting can have several hands

Louis de Planet provides a particularly useful glimpse of the collaboration behind the library. The Institut national d’histoire de l’art describes his working memoir, manuscript MS 259, covering 25 December 1838 to 4 February 1844, with regular entries from November 1843. Planet had entered Ingres’s studio in 1829 and joined Delacroix in 1838. The INHA account identifies his work on the pendentive devoted to Pliny and describes the advice and affection recorded in his recollections.[8]

This evidence changes the meaning of attribution without dissolving it. To call the library Delacroix’s decoration is compatible with acknowledging assistants who helped realise it. The particular case of Planet and the Pliny pendentive gives collaboration a name and a location. It does not establish an exact percentage of his contribution or allow every visible passage to be assigned to a particular hand.

The division between studio canvas and painting on site made the building part of the working process. A composition developed elsewhere still had to function above a viewer in a room. The finished library’s visual continuity depended on repeatedly interrupted labour; its coherence should not make that labour seem effortless.

The Luxembourg library: antiquity gathered around Dante

At the Palais du Luxembourg, Delacroix’s principal decoration occupied six years, from the commission in 1840 to completion in 1846. The dome, seven metres across and three and a half metres high, presents the limbo of the great unbaptised ancients from Inferno, canto IV. Homer, Ovid, Statius and Horace welcome Dante, guided by Virgil, within four groups encompassing poets, Greeks and Romans. The apse shows Alexander preserving Homer’s poems after Arbela, painted in oil on marouflaged canvas. The Sénat records water infiltration in 1868, the dome canvas falling and Andrieu’s fourteen-month restoration.[5]

Admission to an ancient company and the rescue of its writing make an apt library pairing: reading joins voices across time but depends on texts surviving. This Dante subject concerns a gathering in limbo, rather than the boat journey of The Barque of Dante. A shared author does not make the episodes interchangeable.

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

Apollo at the Louvre: a ceiling organised by light

At the Louvre, Apollo Victorious over the Serpent Python occupies the central ceiling compartment of the Galerie d’Apollon. The museum records the commission in 1850 and execution in 1850–51. The work, inventory INV 3818, measures eight by seven and a half metres and is painted in oil on canvas fixed by marouflage.[6] It entered an existing decorative ensemble: Charles Le Brun’s seventeenth-century programme had received eighteenth-century additions before Félix Duban’s completion of the gallery in 1851. Delacroix supplied the centre, while Charles-Louis Muller and Joseph Guichard contributed other remaining compartments.[9]

The gilded, lobed surround is an active part of the encounter. Its emphatic boundary sets an architectural limit around a scene that seems to open upwards. Within it, the blazing yellow centre gathers the chariot and horses into a luminous event. The horses move across the left side of the central field, their bodies and legs presenting different angles to the viewer below. Figures sweep around the upper region, carrying the movement beyond the chariot itself.

A great dark cloud mass interrupts this brilliance. Below it, water, rocks and fallen bodies establish a heavier region, with Python coiling towards the lower right. The transition is abrupt enough to divide the field, yet irregular enough to keep the eye moving between light and darkness. Rather than presenting a row of equally legible actors, the painting makes illumination itself establish priorities. The central radiance attracts the first glance; the darker zone requires a slower examination.

Foreshortening adds to the instability. Bodies are turned and tipped so that limbs, torsos and drapery seem to occupy space above the spectator rather than stand on a common ground. The gold surround remains fixed while the painted world within it appears mobile. That opposition gives the upward view its peculiar excitement: architecture supplies a firm edge to an action without a stable floor.

Apollo and Attila both depend on horses, forceful movement and crowded subsidiary figures, but their architectural shapes produce different rhythms. Attila spreads laterally, making the spectator follow the relation between advance and flight. Apollo gathers attention towards a radiant centre before releasing it around the surrounding figures. The comparison shows how little “monumental” means by itself. Scale creates an opportunity; the shape of the allotted field determines how that opportunity can be used.

Saint-Sulpice: two walls, two forms of resistance

The Chapel of the Holy Angels at Saint-Sulpice brought Delacroix into a more concentrated relationship with the spectator. Commissioned in 1849, the work intensified after 1854 and was inaugurated in 1861. Jacob Wrestling with the Angel occupies the east wall, Heliodorus Driven from the Temple the west, and Saint Michael the ceiling. The City of Paris distinguishes the oil-and-wax wall paintings from the oil painting on canvas attached to the ceiling.[3]

The facing walls establish a dialogue through sharply different environments. In Jacob Wrestling with the Angel, enormous trees take possession of the arched field. The struggling pair occupies the lower left. Their crossed bodies form a compact knot of exertion, with raised and braced limbs giving visible pressure to the encounter. Above them, trunks divide and branches extend through a space vastly larger than the combatants.

That disparity of scale matters. The struggle is intimate enough to be read through bodily contact, yet the surrounding landscape denies it the whole picture. At the right, a caravan continues along a separate route, while clothing, weapons and possessions lie in the foreground. These details establish a world of movement and material burdens around the concentrated contest. The viewer’s eye can leave the pair, follow the departing figures and return to discover the struggle still unresolved within the same expansive setting.

Across the chapel, Heliodorus Driven from the Temple substitutes enormous columns for enormous trees. The supports climb into the arch, making the temple feel massive before the foreground violence is fully understood. A horse and rider enter the action, airborne figures bear down upon Heliodorus, and his fallen body occupies the lower zone among scattered valuables. Steps, elevated spectators and supplicants carry the event into several levels of space.

The central column is especially effective as a measure of the disruption. Its great vertical remains steady while bodies turn, descend and fall around its base. Suspended drapery above repeats some of the sweeping movement of the figures, linking the upper architecture with the turmoil below. Those watching from higher positions extend the encounter beyond its immediate victims and agents: the action is also something witnessed within a sacred interior.

Seen together, the paintings give resistance different physical forms. Jacob’s encounter depends on sustained contact between two bodies; the expulsion of Heliodorus is dispersed among several attackers, a falling man and a watching community. Landscape makes one struggle seem held within a larger natural world. Architecture makes the other an upheaval within an ordered human enclosure. Their opposition gives the chapel variety while keeping the question of human force meeting divine intervention before the viewer. It does not require a diagnosis of Delacroix’s personal religious convictions.

Revision preceded this apparent decisiveness. The Musée de Grenoble’s account of a study for Jacob and the Angel, dated about 1850, discusses tracing, reversals and altered expressions.[10] The finished confrontation was therefore reached through choices that could change the direction and character of the encounter. The study’s importance lies in that evidence of reconsideration, rather than in treating it as a miniature version of every detail on the wall.

Jacob Wrestling with the Angel, completed 1861. Chapel of the Holy Angels, Saint-Sulpice. An older reproduction, with the full arched field retained.
Jacob Wrestling with the Angel, completed 1861. Chapel of the Holy Angels, Saint-Sulpice. An older reproduction, with the full arched field retained. Image source. Public domain. Resized only; native appearance preserved.

Heliodorus Driven from the Temple, completed 1861. Chapel of the Holy Angels, Saint-Sulpice. Columns, elevated witnesses and foreground action occupy the arched field.
Heliodorus Driven from the Temple, completed 1861. Chapel of the Holy Angels, Saint-Sulpice. Columns, elevated witnesses and foreground action occupy the arched field. Image source. Public domain. Resized only; native appearance preserved.

Materials, survival and the painter’s labour

“Mural” describes a painting’s relationship to a building more readily than a single technique. These commissions include paint applied to walls and paint carried on canvas subsequently attached to architecture. Calling them all frescoes would conceal those differences. The distinction also affects how their survival is understood. At Saint-Sulpice, the restoration undertaken between October 2015 and November 2016 helped clarify the materials of the wall paintings.[3] A monumental image can seem inseparable from its setting while possessing a complicated material history.

The same care applies to looking. A reproduction can reveal the broad sweep of Attila’s hemicycle or the balance between trees and wrestlers, but it cannot reproduce the bodily adjustment involved in raising the head towards a ceiling or turning between chapel walls. Architecture controls the encounter before any individual face or gesture is studied. Delacroix’s figures often appear most mobile when their painted boundaries are most emphatic: a curved gold edge, a lobed ceiling frame or an encompassing arch.

On 1 January 1861, Delacroix recorded a day spent working at the church and reflected on painting as both torment and consolation. In that dated entry, difficulty could renew his energy even as he acknowledged the effects of age.[11] The remark belongs to a particular moment of church work; it need not become an explanation of every commission. It nevertheless gives a human scale to paintings whose finished dimensions can overshadow the effort of making them.

His murals ask for a similarly active kind of attention. The viewer has to look across, upwards, down towards fallen bodies and back towards figures at a distance. The institutional programmes supply subjects and values, but the paintings make those programmes visible through movement, obstruction and contrast. Across royal room, library, gallery and chapel, Delacroix repeatedly found new ways to make a fixed architectural surface carry an unfolding event.

Annotated Details from Murals and Public Commissions

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

Apollo Slays Python

Apollo Slays Python, 1850–51, oil on canvas mounted to the ceiling. Musée du Louvre; INV 3818. Published photograph with gilded architectural surround. Web Gallery of Art / Wikimedia Commons; Musée du Louvre. Image source. Public domain. Numbers added to a separate overview; details cropped from an older, limited-resolution reproduction. No colour or perspective changes.

Annotated details from Apollo Slays Python by Eugène Delacroix

Attila the Hun

Attila and His Hordes Overrun Italy and the Arts, wider view of the War hemicycle, completed 1847. Oil and wax on plaster, library of the Palais Bourbon, Paris. The Yorck Project / Directmedia, via Wikimedia Commons. Image source. Public domain. Numbers added to a separate resized overview; detail images are crops of the source reproduction. No colour or perspective changes.

Annotated details from Attila the Hun by Eugène Delacroix

Details from MURALS AND PUBLIC COMMISSIONS

Compare these details with their positions in the complete reproductions.

Apollo Slays Python

1

Horses cross the central radiance

The horses’ heads and bent legs gather around the yellow light. Different angles keep the central group moving rather than forming a single flat silhouette.

Horses cross the central radiance detail from Apollo Slays Python by Eugène Delacroix
2

Figures turn around the upper field

Bodies and flying drapery turn within the curved gilded boundary. Their changing directions carry movement beyond the chariot.

Figures turn around the upper field detail from Apollo Slays Python by Eugène Delacroix
3

A dark cloud separates two regions

The irregular cloud mass interrupts the bright central field. Its broad diagonal separates the lighter upper action from the darker water and rocks below.

A dark cloud separates two regions detail from Apollo Slays Python by Eugène Delacroix
4

Python coils among rocks and fallen bodies

Dark loops rise from the lower rocks beside fallen limbs. Their curved movement remains confined below the brighter chariot.

Python coils among rocks and fallen bodies detail from Apollo Slays Python by Eugène Delacroix

Attila the Hun

5

The white horse gathers the movement

The bowed head and lifted forelegs turn the horse towards the fleeing figures. Its pale body separates the rider from the blue-green space.

The white horse gathers the movement detail from Attila the Hun by Eugène Delacroix
6

A raised weapon crosses the open sky

The lifted arm and swinging chain spread above the rider. An upright shaft and dark fur give the other side of his body a different weight.

A raised weapon crosses the open sky detail from Attila the Hun by Eugène Delacroix
7

A fallen figure lies below the horse

The crowned woman extends an arm across the lower curve. Her low position makes the rider’s height more threatening.

A fallen figure lies below the horse detail from Attila the Hun by Eugène Delacroix
8

Fleeing figures press towards the left edge

A figure carries a child away while an upraised hand rises before red cloth. These gestures widen the scene beyond the central rider.

Fleeing figures press towards the left edge detail from Attila the Hun by Eugène Delacroix
9

The lower border reveals an architectural curve

Fallen limbs run close to the gold-edged curve. The border reminds us that this is part of a large architectural decoration.

The lower border reveals an architectural curve detail from Attila the Hun 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 Delacroix’s Murals and Public Commissions. These editorial prompts invite your observations.

Reader Insights

Editorial prompt · Follow the composition

Compare the broad sweep of Attila’s hemicycle with the upward view of Apollo. How does the architectural boundary shape each composition?

Editorial prompt · Look again

Look from Jacob’s trees to the columns surrounding Heliodorus. How does each setting change the scale of the figures?

Join the Conversation

Share a detail, comparison or question about Delacroix’s Murals and Public Commissions below.

References

  1. Sébastien Allard and Côme Fabre, with contributions by Dominique de Font-Réaulx, Michèle Hannoosh, Mehdi Korchane and Asher Miller, Delacroix. New York: The Metropolitan Museum of Art; New Haven and London: Yale University Press, 2018. Relevant selected passages: printed pp. 109–113, 117–119 and 164–166. Chapters “Driven to Greatness: 1833–54” and “From the Last of the Romantics to the Genius of Color: 1855–63”, by Sébastien Allard and Côme Fabre. Exhibition catalogue. English. Recorded access: 28 October 2026. View source.
  2. Assemblée nationale, “Le Salon Delacroix”, thematic account for the 37th European Heritage Days, 2020. French. Recorded access: 28 October 2026. View source.
  3. Ville de Paris, “Retrouvez les splendeurs de Delacroix à la chapelle des Saints-Anges de Saint-Sulpice”, article on the paintings and their 2015–16 restoration. French. Recorded access: 28 October 2026. View source.
  4. Assemblée nationale, “Delacroix à l’Assemblée nationale”, Bibliothèque de l’Assemblée nationale. French. Recorded access: 28 October 2026. View source.
  5. Sénat, “La bibliothèque”, Palais du Luxembourg, sections on Delacroix’s decoration and its restoration. French. Recorded access: 28 October 2026. View source.
  6. Musée du Louvre, Département des Peintures, “Apollon vainqueur du serpent Python”, collection record, inventory INV 3818. French. Recorded access: 28 October 2026. View source.
  7. Assemblée nationale, “Peintures de Delacroix à la bibliothèque”, institutional account of the library decoration. French. Recorded access: 28 October 2026. View source.
  8. Institut national d’histoire de l’art, “Souvenirs d’un élève de Delacroix : Louis de Planet”, article discussing manuscript MS 259. French. Recorded access: 28 October 2026. View source.
  9. Arcanes, “Galerie d’Apollon”, account of the gallery and restoration project of 2002–04. French. Recorded access: 28 October 2026. View source.
  10. Musée de Grenoble, “Étude pour le Combat de Jacob et de l’Ange, église Saint-Sulpice à Paris”, scholarly collection essay and notes. French. Recorded access: 28 October 2026. View source.
  11. Eugène Delacroix, Journal, 1 January 1861, in Paul Flat and René Piot, eds, Journal de Eugène Delacroix, vol. III. Paris: Plon, 1893, pp. 425–426; digital transcription, Wikisource. French. Recorded access: 28 October 2026. View source.
  12. 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.
  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. 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.
  15. 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.
  16. 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.
  17. 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.
  18. 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.
  19. 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.
  20. 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.
  21. 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.
  22. 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.
  23. 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.
  24. 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.
  25. 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.
  26. 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.
  27. 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.
  28. 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.
  29. Musée du Louvre, Scènes des massacres de Scio, INV 3823, 1824. Object details and historical record. French. Accessed 28 October 2026. View source.
  30. Musée du Louvre, Mort de Sardanapale, RF 2346, 1827. Object details and historical record. French. Accessed 28 October 2026. View source.
  31. 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.
  32. 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.
  33. Musée du Louvre, Jeune orpheline au cimetière, RF 1652, 1824; object metadata and history. French. Accessed 28 October 2026. View source.
  34. 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.
  35. 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.
  36. 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.
  37. 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.
  38. 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.
  39. 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.
  40. 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.
  41. Paris Musées / Petit Palais, Le Combat du Giaour et du Pacha,1835,PDUT1162; object record and interpretation. French. Accessed 28 October 2026. View source.
  42. 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.
  43. Ackland Art Museum, Cleopatra and the Peasant,1838,59.15.1; indexed owner object fields. English. Accessed 28 October 2026. View source.
  44. The Wallace Collection, The Execution of the Doge Marino Faliero,1825–26,P282; object record and description. English. Accessed 28 October 2026. View source.
  45. 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.
  46. Musée d’Orsay, Chevaux arabes se battant dans une écurie,1860,RF1988; indexed owner object fields. French. Accessed 28 October 2026. View source.
  47. 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.
  48. The Phillips Collection, Horses Coming Out of the Sea,1860,0486; collection record and commentary. English. Accessed 28 October 2026. View source.
  49. Musée du Louvre, Jeune Tigre jouant avec sa mère,1830,RF1943; full object record and history. French. Accessed 28 October 2026. View source.
  50. Christie’s, Tigre jouant avec une tortue,1862; Rockefeller2018 sale16718 lot3, record and essay. English. Accessed 28 October 2026. View source.
  51. National Gallery of Art, Tiger, about1830,1943.3.3375; indexed owner record, inscription and visual description. English. Accessed 28 October 2026. View source.
  52. 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.
  53. Musée d’Orsay, Chasse au tigre,1854,RF1814; indexed owner record and commentary. French/English. Accessed 28 October 2026. View source.
  54. State Hermitage Museum, Lion Hunt in Morocco,1854,3853; official guide2014,entry195,pp248–249. English. Accessed 28 October 2026. View source.
  55. 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.
  56. Musée du Louvre, Frédéric Chopin, 1838, RF 1717; current owner record of the surviving fragment. French. Accessed 28 October 2026. View source.
  57. Museum Ordrupgaard, George Sand, 1838, 280WH; current owner dimensions/materials/signature record. Danish. Accessed 28 October 2026. View source.
  58. 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.
  59. 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.
  60. 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.
  61. Musée du Louvre, Nu assis, dit Mademoiselle Rose, about 1820, RF 1942 14; complete owner object record. French. Accessed 28 October 2026. View source.
  62. 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.
  63. 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.
  64. 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.
  65. 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.
  66. 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.
  67. 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.
  68. 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.
  69. 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.
  70. 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.
  71. 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.
  72. Musée du Louvre, Medea,1862,RF1402; later variant of the1838Lilleoriginal,current object record. French. Accessed 28 October 2026. View source.
  73. Musée du Louvre, The Shipwreck of Don Juan,1840,RF359; current owner fields and1883gift record. French. Accessed 28 October 2026. View source.
  74. Musée du Louvre, The Bride of Abydos,RF1398; current dimensions/bequest and broad date differing from the2018catalogue. French. Accessed 28 October 2026. View source.
  75. 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.
  76. Kimbell Art Museum, Selim and Zuleika,1857,AP1986.04; separate final version, complete indexed owner narrative/provenance. English. Accessed 28 October 2026. View source.
  77. Art Gallery of Ontario, The Bride of Lammermoor,about1826,80/83; graphite,watercolour andgouache,collection/provenance record. English. Accessed 28 October 2026. View source.
  78. Christie’s, Cromwell at Windsor Castle,1828,Johnson129;2002auction record/lotessay and1831Salon listing. English. Accessed 28 October 2026. View source.
  79. Musée Fabre, Michelangelo in His Studio,1850,868.1.40;current object fields andinterpretive notice. French. Accessed 28 October 2026. View source.
  80. Kunsthaus Zürich, Milton Dictating Paradise Lost to His Daughters,1827–28,1988/0028;current ownerPDF. English. Accessed 28 October 2026. View source.
  81. Sammlung Oskar Reinhart Am Römerholz, Tasso in the Madhouse,1839,oil60×50cm;owner object record. English. Accessed 28 October 2026. View source.
  82. The National Gallery, London, Christ on the Cross,1853,NG6433;oil73.5×59.7cm,currentobjectrecord. English. Accessed 28 October 2026. View source.
  83. 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.
  84. Brooklyn Museum, The Disciples at Emmaus,1853,50.106;oil55.2×47cm,currentobjectrecord. English. Accessed 28 October 2026. View source.
  85. INHA / Joconde, La Mise au tombeau,copyafterTitian,LyonB286;oil40×55.5cm,nineteenthcentury,currentobjectfields. French. Accessed 28 October 2026. View source.
  86. Nasjonalmuseet, Oslo, Pietà,about1850,NG.M.01179;oil35.6×27cm,currentobjectrecord. English. Accessed 28 October 2026. View source.
  87. 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.
  88. Musée du Louvre, Mariée juive à Tanger,undated,RF4614Recto;watercolour/graphite28.5×23.2cm,currentobjectrecord. French. Accessed 28 October 2026. View source.
  89. Musée du Louvre, Noce juive dans le Maroc,1839,INV3825/LP4737;oil105×140.5cm,Salon1841,currentobjectrecord. French. Accessed 28 October 2026. View source.
  90. Swiss Federal Office of Culture, Marokkanische Soldaten bei einer Gefechtsübung,1847,SOR1936.3;oil66×82cm,Römerholz,currentobjectrecord. German. Accessed 28 October 2026. View source.
  91. 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.
  92. 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.
  93. 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.
  94. 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.
  95. 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.
  96. 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.
  97. Musée du Louvre, Nature morte au homard, RF1661,1826–27, oil on canvas80.5×106.5cm. French. Accessed 28 October 2026. View source.
  98. 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.
  99. 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.
  100. 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.
  101. 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.
  102. 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.
  103. 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.
  104. 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.
  105. 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.
  106. 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.
  107. 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.
  108. 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.
  109. 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.
  110. Musée du Louvre, Hamlet et Horatio au cimetière, 1839, RF 1942, oil on canvas, 82 × 65 cm. French. Accessed 28 October 2026. View source.
  111. National Gallery, London, Ovid among the Scythians, 1859, NG6262, oil on canvas, 87.6 × 130.2 cm. English. Accessed 28 October 2026. View source.
  112. 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.
  113. 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.
  114. New York Public Library, Print Collection: Print Glossary, definitions of impression, state, edition and processes. English. Accessed 28 October 2026. View source.
  115. Museum of Fine Arts, Boston, CAMEO, Lithograph, planographic printing glossary. English. Accessed 28 October 2026. View source.
  116. Musée Eugène-Delacroix, Delacroix and colour, 5 July 2022, collection article. English. Accessed 28 October 2026. View source.
  117. Musée du Louvre, Eugène Delacroix: artist biography. French. Accessed 28 October 2026. View source.
  118. 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.
  119. The Metropolitan Museum of Art, A Wall Decorated in Spanish Tiles, 1832, 2013.1135.16; collection record. English. Accessed 28 October 2026. View source.
  120. National Gallery of Art, Washington, Mephistopheles in the Air, 1828, 1994.60.13; first state of five. English. Accessed 28 October 2026. View source.
  121. 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.
  122. 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.
  123. Musée du Louvre, Apollo Slays Python, 1850–51; INV 3818. Collection record. French. Accessed 28 October 2026. View source.
  124. 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.
  125. Splash image, Apollo Slays Python, 1850–51, oil on canvas mounted to the ceiling. Musée du Louvre; INV 3818. The photograph retains the surrounding gilded frame. Web Gallery of Art / Wikimedia Commons; Musée du Louvre. Image source. Public domain. Resized only; native appearance preserved.

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