Ovid among the Scythians, 1859, by Eugène Delacroix. A small group gathers beside a mare and a wide lake. Buy Art Prints Now
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Published on October 30, 2026 / Updated on October 30, 2026
Tom Gurney BSc (Hons) is an art history expert with over 20 years experience

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

Style and Technique: Introduction

Eugène Delacroix makes colour carry weight, distance and feeling. A dark horse can anchor a landscape; a small white garment can draw attention across it. The Musée Eugène-Delacroix describes his use of neighbouring shades and small, lively strokes, while also recognising the expressive resources of his monochrome prints.[1] His style becomes clearer when these resources are considered together: the distribution of light, the shape of a group, the direction of a line and the material character of a mark.

The spacious Ovid among the Scythians and the crowded The Abduction of Rebecca offer an especially revealing comparison. Both place a vulnerable person among more active figures. Yet the first allows the eye to linger across a landscape, while the second compresses bodies into an urgent upward surge. Delacroix's technique serves these different kinds of encounter. His drawings, a pastel sky and a dark lithograph show how much that technique depends on choices beyond the brilliance of individual colours.

At a Glance

  • Main exampleOvid among the Scythians, 1859; National Gallery, London, NG6262 [2]
  • Materials examinedOil paint, ink, graphite, pastel and lithography [2][3][4][5][6]
  • FlochetageInterwoven touches of complementary and related colours [7]
  • Conservation evidenceThe Louvre’s 2024 report on Liberty Leading the People [8]

Contents

  1. Colour and scale in Ovid among the Scythians
  2. Small strokes within a large design
  3. Rebecca: colour under pressure
  4. Drawing the weight of a tiger
  5. Achilles and the value of alternative contours
  6. A sky built from bands and gaps
  7. Macbeth: making light in black and white
  8. What conservation can establish
  9. Looking from the whole to the mark
  10. Annotated details

Colour and scale in Ovid among the Scythians

The National Gallery's Ovid among the Scythians, painted in 1859 in oil on canvas, measures 87.6 × 130.2 cm. Its subject is hospitality towards the exiled Roman poet: people gather around him with food, while a mare is milked nearby.[2] The human action occupies a relatively narrow strip beneath an expansive sky, mountains and water. This disproportion between the size of the story and the size of its setting is fundamental to the painting's effect.

Ovid reclines towards the lower left, wearing a light upper garment and blue drapery. He is much smaller than the dark mare standing at the right. Nevertheless, his pale clothing makes him readily discoverable against the subdued earth and vegetation. The horse attracts attention through its size and darkness; the poet attracts it through a small concentration of light. Their unequal bodies establish two different kinds of visual emphasis within the same foreground.

Between them, warm flesh and red or ochre clothing gather the central figures into a loose cluster. The kneeling man bends towards Ovid; the standing figures, including a woman holding a child, rise behind him. The poet's low position leaves him exposed to their attention without placing him at the geometrical centre. A boy and dog at the left extend this circle of encounter. Looking moves between faces, hands and offerings before returning to the reclining figure.

The mare gives the gathering a physical counterweight. Her body forms a broad, almost continuous dark mass, and her neck rises above the foreground heads. Beneath her, the crouched milker and basin introduce another small action. The scale of the animal could make this side oppressive, but the space around the poet remains open. The group does not close into a wall. The eye can travel behind it to the water and then towards the mountain slopes.

That recession depends on more than a change from warm to cool colour. Overlapping ridges establish successive distances; the broad water surface offers a comparatively quiet interval; the shoreline bends between foreground and background. The mountains occupy a large area without competing with the gestures below. Their blue-grey expanses give the little exchanges of the foreground room to unfold. The scene's calm comes partly from the difference between these long, sustained shapes and the shorter, more varied movements of the figures.

Colour also binds the two zones together. Ovid's blue drapery has a relationship with the distant blues, although it is stronger and more concentrated. Earth colours move through the foreground, the figures and the nearer slopes. The warm central group therefore stands out without seeming cut from another painting. The distribution of colour allows the landscape to remain continuous while the human encounter becomes legible within it.

The result is a useful corrective to an account of Delacroix that begins and ends with violent movement. Here, small gestures sustain the narrative. The dark animal, bright poet and warm gathering hold distinct positions in an extensive setting. Their differences create a balance that can accommodate stillness, attention and practical care.

Small strokes within a large design

The National Gallery uses the term flochetage for small, interwoven strokes or flecks of complementary and closely related colours, associating the practice with late works including Ovid among the Scythians.[7] The inclusion of related colours matters: this is a description of varied, interlaced touches, rather than a rule requiring every colour to meet its opposite.

In Ovid, small variations are visible through the broken greens and earth tones of the ground and in the changing lights of the drapery. A patch that first reads as a single area becomes less uniform under closer attention. Light and darker touches interrupt one another. These variations help the terrain remain active even where no figure supplies an incident.

The small marks operate within a design that is already strongly organised. They do not erase the mare's heavy silhouette or dissolve the poet into the ground. The distinction between an enclosing shape and the variation within it is crucial. At a distance the horse has weight; closer looking reveals changes across its dark body. The painting offers both a stable arrangement and a surface that rewards sustained attention.

It would be misleading to apply the word flochetage indiscriminately to every visible touch. The broad sky, mountain masses, clothing and tiny foreground details have different demands. Nor does the visible separation of strokes disclose the chemical identity of the paint. A reproduction can show a pattern of marks and broad colour relationships without establishing a pigment recipe, the order of every layer or the exact appearance of the original under gallery lighting.

Rebecca: colour under pressure

In The Abduction of Rebecca of 1846, Delacroix works within an upright canvas, 100.3 × 81.9 cm. The Metropolitan Museum of Art identifies the subject with Walter Scott's Ivanhoe; in the museum's accompanying discussion, Asher Miller draws attention to the composition's two diagonals.[9] The difference from Ovid is immediate. Bodies, horse and cloth crowd the foreground, and the burning castle rises behind them rather than opening into a spacious distance.

Rebecca's cream and gold clothing crosses the centre. Her head falls back, her arm hangs down, and the men handling her body direct their strength around her slackness. Her pale form interrupts the darker figures and becomes the point at which their actions meet. Here again a relatively light figure commands attention, but the surrounding arrangement makes the light feel precarious. Rebecca has little of the open ground that gives Ovid's reclining body breathing space.

The grey-brown horse at the left and below her supplies a great turning mass. Its curved back and sweeping tail carry the eye through the lower part of the group. Above it, arms, torsos and folds turn in competing directions. One man's back presents a strong upright plane; another, seen more from behind at the right, combines dark blue cloth with a red sleeve. The carriers are active supports, but their bodies also obstruct the view. Rebecca is visible through a densely overlapping structure.

The diagonals can be felt in the passage from the horse and hanging head towards the higher figures, and in the crossing movement of Rebecca's body and the arms surrounding her. They prevent the upright format from becoming static. A viewer follows one direction only to meet another. The head, hands and falling drapery supply changes of course within the larger surge.

Red is particularly effective because it occurs in separated passages. The vivid cloth over the horse catches the eye below Rebecca, while the red sleeve at the right helps return attention to the men holding her. Blue forms another substantial area close to her pale clothing. The bursts of colour are embedded in a largely subdued setting, so they work as accents and structural supports together. Their force would be different if the entire surface maintained the same intensity.

Behind this group, the castle and smoke are less sharply divided. Flame appears within the upper darkness, but it does not replace Rebecca as the principal light focus. The background expands the sense of danger while remaining subordinate to the body's immediate exposure. Space is compressed by overlap and obscurity: the foreground offers difficult passages between figures, and the distance offers little release.

The movement is clearest when the picture is considered as connected shapes rather than as a collection of isolated anatomical details. The slope of an arm matters because it conducts force towards another body; a fold matters because it extends or changes that direction. This does not require assuming that every distortion was deliberate, or judging the figures by photographic exactness. The visible achievement lies in the coherence of their interdependence. Gesture, light and colour make the central action readable through the crowding.

Set beside Ovid, Rebecca's helpless posture reveals how differently Delacroix can organise vulnerability. One figure receives attention across an open interval; the other is carried through a knot of limbs and fabric. The contrast emerges from the arrangements themselves, without requiring an imagined account of either figure's private thoughts.

The Abduction of Rebecca, 1846, oil on canvas. The Metropolitan Museum of Art; 03.30. Overlap and coloured accents compress the central action.
The Abduction of Rebecca, 1846, oil on canvas. The Metropolitan Museum of Art; 03.30. Overlap and coloured accents compress the central action. The Metropolitan Museum of Art, Open Access. Image source. Public domain. Whole supplied primary image retained, including documentary/support edges; no appearance editing.

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

Drawing the weight of a tiger

Colour is only one means by which Delacroix gives a body presence. Crouching Tiger, dated 1839, is a small drawing, 13.1 × 18.7 cm, made with pen and brush in iron-gall ink.[3] The animal fills much of the sheet. Its back arches from the rounded haunch at the left towards the lowered head at the right, while its paws establish firm points along the ground.

Broad stripes and much finer hatching do different jobs within that compact silhouette. The dark stripes describe a patterned coat, but their changing shapes also turn around the haunch, ribs and shoulder. Thin lines occupy the intervals, suggesting changes in volume without covering the paper uniformly. The body is neither a flat pattern enclosed by an outline nor a continuously shaded solid. Its weight emerges from the interaction of both kinds of mark.

The long curve of the back gathers the animal into a single compressed form. Against that continuity, the face breaks into sharp accents around the eye, muzzle and open mouth. The paws are more firmly articulated than the sparse ground. The tail curls around the haunch and returns attention towards the body's centre. Each part contributes to the impression of an animal held low, with substantial weight distributed through bent limbs.

There is energy here, but it does not depend on a leap or on bright paint. Changes in line width, the concentration of dark marks and the interval between back and ground are sufficient. The sheet makes drawing integral to the understanding of Delacroix's style: the organisation of contour and interior marks can be as forceful as a passage of contrasting colours.

Crouching Tiger, 1839, pen and brush and iron gall ink. The Metropolitan Museum of Art; 2013.1135.5. Broad stripes and fine hatching give different kinds of weight to the body.
Crouching Tiger, 1839, pen and brush and iron gall ink. The Metropolitan Museum of Art; 2013.1135.5. Broad stripes and fine hatching give different kinds of weight to the body. The Metropolitan Museum of Art, Open Access. Image source. Public domain. Whole supplied primary image retained, including documentary/support edges; no appearance editing.

Achilles and the value of alternative contours

The graphite Education of Achilles, dated about 1844 and measuring 23.6 × 29.7 cm, is a study connected with Delacroix's work for the Palais Bourbon.[4] Chiron's large back occupies the left of the group, while the smaller Achilles aims his bow towards the upper right. Their raised arms and the arrow lead beyond the cluster of bodies into the surrounding open paper.

Compared with the tiger, the group is less completely enclosed. Several contours propose different positions for the centaur's legs and the curve of the equine body. Some lines are faint; others have been reinforced. They remain visible together. The drawing therefore allows a viewer to see alternatives without requiring them to be reconciled into a single final outline.

Those repeated lines have a double effect. They show the figure being considered through more than one possible contour, and they give the lower body an unsettled movement. Yet the image cannot establish the precise order of the changes, the time taken or a particular moment of hesitation. The useful evidence is on the sheet: alternatives coexist around a group whose principal upward direction remains clear.

Shading is concentrated more strongly around the human torsos and their overlap. The horse's body is more openly described. This uneven distribution establishes a hierarchy within the study. Attention gathers where teacher and pupil meet, then travels out along the arms and bow; the lower contours explore the support for that action. Unmarked paper gives the extensions room. It is an active part of the composition's spaciousness, even though the sheet does not present a fully developed setting.

The study helps explain why drawing and painterly animation belong in the same account. A figure can be tested through lines before, or apart from, the colour relationships that will give it another kind of presence in paint. Here the repeated contours preserve possibilities; in Rebecca, overlapping shapes converge upon a forceful action. These are different uses of form, each directed towards the organisation of bodies in space.

The Education of Achilles, about 1844, graphite. The Metropolitan Museum of Art; 2014.732.3. Repeated contours preserve possibilities within an imagined action.
The Education of Achilles, about 1844, graphite. The Metropolitan Museum of Art; 2014.732.3. Repeated contours preserve possibilities within an imagined action. The Metropolitan Museum of Art, Open Access. Image source. CC0 / Public domain. Whole supplied primary image retained, including documentary/support edges; no appearance editing.

A sky built from bands and gaps

The Louvre catalogues Étude de ciel au soleil couchant as a pastel on grey paper, dated about 1849, measuring 19.2 × 23.8 cm.[5] Its low strip of dark land leaves nearly the whole sheet to the sky. There are no figures to organise the view. Instead, changing bands of blue-grey, pink, orange and pale cream establish the relationships that hold the study together.

The land has an uneven upper edge but very little descriptive detail. Its darkness gives the sky a lower boundary and makes the pale opening above it more luminous. That opening lies low, towards the centre and right, among broader cloud bands. No distinct sun disc is visible. Light is understood through the gaps and surrounding tones rather than through a sharply identified celestial object.

The marks also change direction. Shorter slanting strokes cross the upper left, while longer, more horizontal passages extend through the middle. These differences prevent the sky from becoming a set of mechanically parallel stripes. Warm gaps cut between cool masses; some edges remain soft and dispersed, while others are more firmly drawn. The eye moves sideways and then encounters a break or a change in angle.

Pastel's visible broken texture is particularly useful here. Individual marks remain perceptible while participating in broader bands. The sky has breadth without needing an uninterrupted smooth finish. The grey paper provides the support on which these lighter and darker passages meet, though its contribution should not be confused with a claim that every exposed spot or later surface variation was deliberately designed.

The study's resemblance to a changing sky does not identify a location, a particular weather event or the circumstances in which it was made. What it does reveal is an economical organisation of attention: a dark base, a large varied field and a low concentration of brightness. The same general resources take a different form in Ovid, where expansive cool distances surround small human lights. Neither picture depends on filling every part of the surface with equal incident.

Study of the Sky at Sunset, about 1849, pastel on grey paper. Musée du Louvre; RF 3706, Recto. Contrasting directions and gaps of light organise the sky.
Study of the Sky at Sunset, about 1849, pastel on grey paper. Musée du Louvre; RF 3706, Recto. Contrasting directions and gaps of light organise the sky. Web Gallery of Art via Wikimedia Commons. Image source. Public domain. Whole supplied primary image retained, including documentary/support edges; no appearance editing.

Macbeth: making light in black and white

Macbeth Consulting the Witches, a lithograph of 1825, demonstrates how far Delacroix can carry tonal contrasts without a coloured palette. The Metropolitan Museum's impression is the third state of five.[6] Macbeth stands at the left, his armour giving him a relatively compact, upright body. The witches cluster lower at the right around a dark cauldron. Between and above them, a web of pale lines moves through the black field.

Ashley E. Dunn explains that Delacroix used a scraper to create white lines in this print.[10] This technical fact matters to its appearance: light can be articulated by working back into darkness. It also distinguishes the print's procedure from simply drawing dark outlines around pale figures. The numerous light strands make the surrounding atmosphere almost as active as the bodies within it.

Macbeth's separated legs and firm stance give him a grounded silhouette. His armour catches light in bounded areas, keeping his torso comparatively solid. The witches' bent bodies and reaching arms make a more irregular group. Their contours participate in the curls and filaments around them. The contrast gives the encounter two different physical rhythms: the upright man faces forms that seem less securely separated from their atmosphere.

The cauldron supplies another kind of darkness. Its broad, dense shape interrupts the finer network, while pale vapour rises above its rim and flame appears below. That alternation of solid dark mass and restless light connects the objects to their setting. The surrounding black is not merely empty background; it is the field against which each scratched strand becomes visible.

The lithograph is consequently more than a painting deprived of colour. It has its own means of distinguishing weight, exposure and movement. Beside the tiger drawing, it shows how different monochrome marks can be: broad ink stripes turn around an animal, whereas fine white lines animate the darkness surrounding Macbeth. In both, the width, density and direction of marks shape the scene as decisively as their subject matter.

Macbeth Consulting the Witches, 1825, lithograph, third state of five. The Metropolitan Museum of Art; 22.63.19. Pale strands make the surrounding darkness active.
Macbeth Consulting the Witches, 1825, lithograph, third state of five. The Metropolitan Museum of Art; 22.63.19. Pale strands make the surrounding darkness active. The Metropolitan Museum of Art, Open Access. Image source. CC0 / Public domain. Whole supplied primary image retained, including documentary/support edges; no appearance editing.

What conservation can establish

Visible effects and physical construction are connected, but they require different kinds of evidence. In the Louvre's 2024 account of the restoration of Liberty Leading the People, Côme Fabre reports that yellowed varnish had obscured colour relationships. The restoration revealed a grey base in Liberty's tunic, with yellow applied more opaquely above and in more fragmentary passages below. Fabre interprets the yellow as contributing to the warm focal area and the tricolour as standing against coloured greys.[8] This is the museum's account of a particular painting's examination and restoration. It supplies material evidence that looking at a reproduction alone cannot provide.

A garment that appears broadly yellow can involve several layers. This finding concerns one painting; it cannot establish a universal working sequence. Nor does the apparent looseness of a stroke tell us how long a canvas took to resolve.

Looking from the whole to the mark

Return to Ovid among the Scythians after these drawings and prints, and there is more to discover within its quietness. The mare's silhouette has the weight of a large, coherent shape; small variations keep the ground and clothing from becoming inert; the poet's light garment directs attention across an extensive setting. Colour, contour and scale work together.

In Rebecca, those relationships tighten. The light body is caught among stronger gestures, coloured accents conduct the eye around it, and the dark background limits escape into distance. In the pastel, a low opening performs the work of a focal light without a figure. In Macbeth, white filaments make darkness active. Delacroix's style accommodates all these effects because the character of the mark is joined to the needs of the whole image: how much weight a body carries, how far a landscape opens and where attention comes to rest.

Annotated Details from Style and Technique

The numbered points identify visible features discussed in this article. Return from each detail to the whole composition. Ovid among the Scythians, 1859, oil on canvas. The National Gallery, London; NG6262. National Gallery, London, 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 Style and Technique by Eugène Delacroix

Details from STYLE AND TECHNIQUE

Compare the selected example’s details with their positions in the complete reproduction.

1

The poet rests low within the landscape

A pale shirt and blue cloth distinguish Ovid without enlarging him into a commanding figure. His low position allows the surrounding figures to approach.

The poet rests low within the landscape detail from Style and Technique by Eugène Delacroix
2

Food is offered through a lowered gesture

The kneeling figure extends a shallow offering towards the poet. Other standing figures gather behind this small exchange.

Food is offered through a lowered gesture detail from Style and Technique by Eugène Delacroix
3

A child and dog face the poet

The small figure and dark animal stand at the edge of the welcome. Their scale helps establish the foreground distance.

A child and dog face the poet detail from Style and Technique by Eugène Delacroix
4

The mare gives the foreground its largest mass

A dark horse rises above the kneeling milker. The animal’s size draws attention to a practical source of nourishment.

The mare gives the foreground its largest mass detail from Style and Technique by Eugène Delacroix
5

Water opens a broad interval before the mountains

Low shorelines and cool mountain bands lead away from the people. This large, quiet distance makes the foreground gathering feel small within a wider world.

Water opens a broad interval before the mountains detail from Style and Technique by Eugène Delacroix

Further reading

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

  • Delacroix Drawings: The Karen B. Cohen Collection. Ashley E. Dunn, with contributions by Colta Ives and Marjorie Shelley. New York: The Metropolitan Museum of Art, 2018. English.

    A focused route into preparatory studies, copies and finished drawings, with attention to materials and working methods. View the museum’s book description.

  • 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 Style and Technique. These editorial prompts invite your observations.

Reader Insights

Editorial prompt · Follow the composition

Compare Ovid’s open landscape with Rebecca’s crowded figures. How does space change the emotional pace?

Editorial prompt · Look again

Look from the tiger’s ink marks to the sunset’s pastel strokes. How does each material join colour or tone with form?

Join the Conversation

Share a detail, comparison or question about Style and Technique below.

References

  1. Musée Eugène-Delacroix, ‘Delacroix and colour’, 5 July 2022. Source language: English. Accessed 28 October 2026. View source.
  2. National Gallery, London, ‘Eugène Delacroix: Ovid among the Scythians’, collection entry and accompanying commentary, NG6262, 1859. Source language: English. Accessed 28 October 2026. View source.
  3. The Metropolitan Museum of Art, ‘Eugène Delacroix: Crouching Tiger’, collection entry, accession 2013.1135.5, 1839. Source language: English. Accessed 28 October 2026. View source.
  4. The Metropolitan Museum of Art, ‘Eugène Delacroix: The Education of Achilles’, collection entry, accession 2014.732.3, about 1844. Source language: English. Accessed 28 October 2026. View source.
  5. Musée du Louvre, Département des Arts graphiques, ‘Étude de ciel au soleil couchant’, collection entry, RF 3706, recto, about 1849. Source language: French. Accessed 28 October 2026. View source.
  6. The Metropolitan Museum of Art, ‘Eugène Delacroix: Macbeth Consulting the Witches’, collection entry, accession 22.63.19, 1825, third state of five. Source language: English. Accessed 28 October 2026. View source.
  7. National Gallery, London, ‘Flochetage’, glossary entry. Source language: English. Accessed 28 October 2026. View source.
  8. Musée du Louvre, Côme Fabre, ‘La restauration de La Liberté rend justice au travail d'un coloriste de génie’, interview, 30 April 2024. Source language: French. Accessed 28 October 2026. View source.
  9. The Metropolitan Museum of Art, ‘Eugène Delacroix: The Abduction of Rebecca’, collection entry and accompanying audio commentary by Asher Miller, accession 03.30, 1846. Source language: English. Accessed 28 October 2026. View source.
  10. Ashley E. Dunn, ‘Eugène Delacroix, Printmaker Par Excellence’, The Metropolitan Museum of Art, 7 November 2018, discussion of Macbeth Consulting the Witches. Source language: English. Accessed 28 October 2026. View source.
  11. 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.
  12. 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.
  13. 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.
  14. 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.
  15. 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.
  16. 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.
  17. 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.
  18. 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.
  19. 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.
  20. 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.
  21. 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.
  22. 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.
  23. 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.
  24. 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.
  25. 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.
  26. 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.
  27. 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.
  28. Musée du Louvre, Scènes des massacres de Scio, INV 3823, 1824. Object details and historical record. French. Accessed 28 October 2026. View source.
  29. Musée du Louvre, Mort de Sardanapale, RF 2346, 1827. Object details and historical record. French. Accessed 28 October 2026. View source.
  30. 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.
  31. 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.
  32. Musée du Louvre, Jeune orpheline au cimetière, RF 1652, 1824; object metadata and history. French. Accessed 28 October 2026. View source.
  33. 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.
  34. 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.
  35. 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.
  36. 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.
  37. 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.
  38. 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.
  39. 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.
  40. Paris Musées / Petit Palais, Le Combat du Giaour et du Pacha,1835,PDUT1162; object record and interpretation. French. Accessed 28 October 2026. View source.
  41. 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.
  42. Ackland Art Museum, Cleopatra and the Peasant,1838,59.15.1; indexed owner object fields. English. Accessed 28 October 2026. View source.
  43. The Wallace Collection, The Execution of the Doge Marino Faliero,1825–26,P282; object record and description. English. Accessed 28 October 2026. View source.
  44. 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.
  45. Musée d’Orsay, Chevaux arabes se battant dans une écurie,1860,RF1988; indexed owner object fields. French. Accessed 28 October 2026. View source.
  46. 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.
  47. The Phillips Collection, Horses Coming Out of the Sea,1860,0486; collection record and commentary. English. Accessed 28 October 2026. View source.
  48. Musée du Louvre, Jeune Tigre jouant avec sa mère,1830,RF1943; full object record and history. French. Accessed 28 October 2026. View source.
  49. Christie’s, Tigre jouant avec une tortue,1862; Rockefeller2018 sale16718 lot3, record and essay. English. Accessed 28 October 2026. View source.
  50. National Gallery of Art, Tiger, about1830,1943.3.3375; indexed owner record, inscription and visual description. English. Accessed 28 October 2026. View source.
  51. 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.
  52. Musée d’Orsay, Chasse au tigre,1854,RF1814; indexed owner record and commentary. French/English. Accessed 28 October 2026. View source.
  53. State Hermitage Museum, Lion Hunt in Morocco,1854,3853; official guide2014,entry195,pp248–249. English. Accessed 28 October 2026. View source.
  54. 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.
  55. Musée du Louvre, Frédéric Chopin, 1838, RF 1717; current owner record of the surviving fragment. French. Accessed 28 October 2026. View source.
  56. Museum Ordrupgaard, George Sand, 1838, 280WH; current owner dimensions/materials/signature record. Danish. Accessed 28 October 2026. View source.
  57. 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.
  58. 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.
  59. 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.
  60. Musée du Louvre, Nu assis, dit Mademoiselle Rose, about 1820, RF 1942 14; complete owner object record. French. Accessed 28 October 2026. View source.
  61. 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.
  62. 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.
  63. 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.
  64. 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.
  65. 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.
  66. 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.
  67. 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.
  68. 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.
  69. 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.
  70. 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.
  71. Musée du Louvre, Medea,1862,RF1402; later variant of the1838Lilleoriginal,current object record. French. Accessed 28 October 2026. View source.
  72. Musée du Louvre, The Shipwreck of Don Juan,1840,RF359; current owner fields and1883gift record. French. Accessed 28 October 2026. View source.
  73. Musée du Louvre, The Bride of Abydos,RF1398; current dimensions/bequest and broad date differing from the2018catalogue. French. Accessed 28 October 2026. View source.
  74. 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.
  75. Kimbell Art Museum, Selim and Zuleika,1857,AP1986.04; separate final version, complete indexed owner narrative/provenance. English. Accessed 28 October 2026. View source.
  76. Art Gallery of Ontario, The Bride of Lammermoor,about1826,80/83; graphite,watercolour andgouache,collection/provenance record. English. Accessed 28 October 2026. View source.
  77. Christie’s, Cromwell at Windsor Castle,1828,Johnson129;2002auction record/lotessay and1831Salon listing. English. Accessed 28 October 2026. View source.
  78. Musée Fabre, Michelangelo in His Studio,1850,868.1.40;current object fields andinterpretive notice. French. Accessed 28 October 2026. View source.
  79. Kunsthaus Zürich, Milton Dictating Paradise Lost to His Daughters,1827–28,1988/0028;current ownerPDF. English. Accessed 28 October 2026. View source.
  80. Sammlung Oskar Reinhart Am Römerholz, Tasso in the Madhouse,1839,oil60×50cm;owner object record. English. Accessed 28 October 2026. View source.
  81. The National Gallery, London, Christ on the Cross,1853,NG6433;oil73.5×59.7cm,currentobjectrecord. English. Accessed 28 October 2026. View source.
  82. 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.
  83. Brooklyn Museum, The Disciples at Emmaus,1853,50.106;oil55.2×47cm,currentobjectrecord. English. Accessed 28 October 2026. View source.
  84. INHA / Joconde, La Mise au tombeau,copyafterTitian,LyonB286;oil40×55.5cm,nineteenthcentury,currentobjectfields. French. Accessed 28 October 2026. View source.
  85. Nasjonalmuseet, Oslo, Pietà,about1850,NG.M.01179;oil35.6×27cm,currentobjectrecord. English. Accessed 28 October 2026. View source.
  86. 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.
  87. Musée du Louvre, Mariée juive à Tanger,undated,RF4614Recto;watercolour/graphite28.5×23.2cm,currentobjectrecord. French. Accessed 28 October 2026. View source.
  88. Musée du Louvre, Noce juive dans le Maroc,1839,INV3825/LP4737;oil105×140.5cm,Salon1841,currentobjectrecord. French. Accessed 28 October 2026. View source.
  89. Swiss Federal Office of Culture, Marokkanische Soldaten bei einer Gefechtsübung,1847,SOR1936.3;oil66×82cm,Römerholz,currentobjectrecord. German. Accessed 28 October 2026. View source.
  90. 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.
  91. 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.
  92. 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.
  93. 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.
  94. 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.
  95. 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.
  96. Musée du Louvre, Nature morte au homard, RF1661,1826–27, oil on canvas80.5×106.5cm. French. Accessed 28 October 2026. View source.
  97. 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.
  98. 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.
  99. 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.
  100. 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.
  101. 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.
  102. 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.
  103. 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.
  104. 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.
  105. 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.
  106. 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.
  107. 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.
  108. 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.
  109. Musée du Louvre, Hamlet et Horatio au cimetière, 1839, RF 1942, oil on canvas, 82 × 65 cm. French. Accessed 28 October 2026. View source.
  110. National Gallery, London, Ovid among the Scythians, 1859, NG6262, oil on canvas, 87.6 × 130.2 cm. English. Accessed 28 October 2026. View source.
  111. 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.
  112. 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.
  113. New York Public Library, Print Collection: Print Glossary, definitions of impression, state, edition and processes. English. Accessed 28 October 2026. View source.
  114. Museum of Fine Arts, Boston, CAMEO, Lithograph, planographic printing glossary. English. Accessed 28 October 2026. View source.
  115. Musée Eugène-Delacroix, Delacroix and colour, 5 July 2022, collection article. English. Accessed 28 October 2026. View source.
  116. Musée du Louvre, Eugène Delacroix: artist biography. French. Accessed 28 October 2026. View source.
  117. 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.
  118. The Metropolitan Museum of Art, A Wall Decorated in Spanish Tiles, 1832, 2013.1135.16; collection record. English. Accessed 28 October 2026. View source.
  119. National Gallery of Art, Washington, Mephistopheles in the Air, 1828, 1994.60.13; first state of five. English. Accessed 28 October 2026. View source.
  120. 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.
  121. 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.
  122. Musée du Louvre, Apollo Slays Python, 1850–51; INV 3818. Collection record. French. Accessed 28 October 2026. View source.
  123. Sotheby’s, A Turkish Man on a Grey Horse, catalogued under Eugène Delacroix; sale N07716, 2001, lot 20. English. Accessed 28 October 2026. View source.

More DELACROIX Artworks

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