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

A Turkish Man on a Grey Horse: Introduction

A grey horse walks towards the right, but its rider turns his head towards the left. Between those contrary directions, a long spear rises across the sky. This is the small but compelling drama of A Turkish Man on a Grey Horse: forward movement checked by a backward glance, with no visible encounter to explain it. The bright blue coat draws attention to the man, while the horse's pale body stretches across the foreground beneath him. Beyond them, water, distant figures and palms open a second, much smaller world.

Sotheby's catalogued this image under Eugène Delacroix's name as A Turkish Man on a Grey Horse, lot 20 in its 2001 sale 19th Century Paintings, Sculpture & Works of Art. The available catalogue record does not establish a creation date, medium, dimensions, provenance or present location.[1] Its title supplies a historical label for the rider; neither his nationality and personal identity nor Delacroix's authorship of the title is established.

At a Glance

  • DateNot specified in the surviving auction record [1]
  • MediumNot specified in the surviving auction record [1]
  • DimensionsNot specified in the surviving auction record [1]
  • Catalogue recordSotheby’s, 2001, sale N07716, lot 20; present location unverified [1]

This work across Eugène Delacroix’s career

Contents

  1. A backward glance in a forward-moving scene
  2. Blue cloth, red pattern and a dappled grey
  3. A shore beneath an unsettled sky
  4. Horses and water in Delacroix's other works
  5. A rider's identity and a ruler's presence
  6. Annotated details

A backward glance in a forward-moving scene

The horse appears in a walking pose, its narrow legs separated beneath a long, slender body. Its head inclines slightly downwards, and its black mane hangs along the neck. Nothing in this stance suggests the suspended rush of a gallop. The animal occupies the lower part of the composition with a steadiness that gives the rider's turn greater emphasis. His body remains seated along the horse's direction, while his face turns back across his shoulder.

Following the horse, the eye reaches its lowered head and the open space beyond its muzzle. Following the rider's gaze, it returns towards the left edge. The figure thus holds attention near the middle of the image even as the animal seems ready to carry him out of it. His glance can suggest alertness, but its cause remains outside our view. There is no visible opponent, messenger or event that fixes the gesture's meaning.

The spear introduces a third direction. Its shaft runs from low on the left towards the upper right, crossing the rider's silhouette and reaching into the clouds. Against the horizontal bands of earth and water, it makes a clean, steep interruption. Its upper end also occupies space well above the man's head, extending the group's reach into an otherwise largely unpeopled sky. The low horse and upright rider form a stable centre; the diagonal gives that centre a sharper energy.

Smaller curves soften this arrangement. The reins hang in a loose reddish loop between the rider and the horse's head. The tail falls at the left, and the mane follows the descending neck at the right. Those dark, curved accents give the animal's broad pale shape distinct edges. They also prevent the spear's straight line from dominating every part of the design. The scene balances long structural lines with the more irregular shapes of hair, cloth and limbs.

Blue cloth, red pattern and a dappled grey

The rider's blue coat is the strongest concentrated colour in the composition. Its folds gather around his seated body, and its lower edge spreads over the horse's flank. A yellow belt breaks across the blue at his waist, giving the torso a bright horizontal accent. Above it, the pale headdress has visible stripes and a rounded, wrapped shape. Together these details make the rider legible against a sky whose colours are cooler and less sharply bounded.

The red patterned saddlecloth provides a second centre of attention, extending behind the rider towards the horse's hindquarters. Its small, contrasting marks introduce a scale of detail quite different from the large shapes of coat and sky. The red also appears in the tack around the horse's head, carrying a warmer note towards the right. Colour connects the rider's seat to the animal he directs, so that the two remain a single visual group despite their different orientations.

The horse's grey is equally active. Dark dapples interrupt its pale body, while deeper passages beneath the belly and around the neck give the form weight. Its black mane and tail are particularly strong beside the lighter coat. The grey therefore does more than provide a subdued background for the man's blue clothing. It supplies its own pattern and its own sequence of light and dark, with the legs carrying those contrasts down to the ground.

There is a revealing difference between the saddlecloth's ornament and the horse's dappling. One pattern belongs to a textile laid across the animal; the other follows the animal's body. Seen together, they make the horse both a living presence and the bearer of elaborate equipment. The rider's clothing, the cloth behind him and the pale flank below form overlapping zones, each with a distinct character. Much of the image's richness comes from fitting those zones into a compact silhouette.

The visible handling also changes across the scene. The cloud shapes are broad and loosely bounded, whereas the bridle, patterned cloth and horse's legs depend on narrower marks and clearer distinctions. Pale, wash-like passages coexist with strong dark accents. This contrast allows the foreground subject to remain precise enough to command attention without giving every distant feature the same degree of definition.

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.

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A shore beneath an unsettled sky

Sandy ground runs across the foreground, marked by darker patches and an elongated shadow stretching towards the right. The shadow ties the horse to the earth and reinforces the lateral direction of its movement. Beneath the pale legs, light ground makes each change of angle easier to see. Farther back, darker strips of terrain lead towards a narrow blue band of water.

The low horizon leaves much of the picture to the sky. Grey-blue cloud masses spread behind the rider, with paler openings between them and a darker accumulation towards the right. This is a varied sky, rather than a uniform field of bright blue. Its changing tones alternately separate and absorb the spear, headdress and upper body. The rider's saturated coat remains conspicuous, but the atmosphere around him has a less settled rhythm.

Pale earth and the horse's illuminated coat draw the lower half forward; the broad cloud shapes make the upper half feel more distant and less tangible. The long shadow adds a firm dark shape to the ground, echoing the stronger accents within the horse and its equipment.

Two tiny colourful figures appear in the distance to the right of the horse, with slender palms farther towards the edge. These details establish scale: a small patch of colour far away can stand for a whole person, while the foreground rider occupies a substantial part of the picture's height. Their activity is too indistinct to identify confidently. They suggest a shore with other people in it, without turning the foreground figure into a participant in an identifiable shared action.

The palms perform a similar task. Their narrow trunks and sparse crowns give the far distance a vertical accent, answering the much larger upright of the rider. Placed near the edge, they help extend the landscape beyond the horse. Yet neither palms nor water can name a location. The shore works most persuasively as a spacious setting in which the rider's turn becomes visible and consequential.

Horses and water in Delacroix's other works

Delacroix's journey through Morocco, Spain and Algeria lasted from late January to July 1832, as outlined in Mar Borobia's account for the Museo Nacional Thyssen-Bornemisza.[8] That itinerary offers context for his North African subjects without dating this undated image or placing its rider at a particular stop.

Horses Coming Out of the Sea, an oil painting dated 1860 in The Phillips Collection, offers a useful comparison. The museum interprets it in relation to memories of the 1832 journey.[9] There, a chestnut horse at the left and a grey at the right move together at the water's edge, with a red-clad rider between their raised necks. His bare leg, the overlapping animals and the breaking water crowd the action into the foreground; a boat enters at the lower right.

In A Turkish Man on a Grey Horse, the solitary animal has a much clearer side view, and water remains behind it. The contrast is between entangled movement and a measured passage across open ground. These are different uses of the horse-and-shore motif, without an established study-and-finished-picture relationship between them.

Horses Coming Out of the Sea, 1860, oil on canvas. The Phillips Collection; 0486. A distinct work whose overlapping horses offer a comparison with the solitary walking animal.
Horses Coming Out of the Sea, 1860, oil on canvas. The Phillips Collection; 0486. A distinct work whose overlapping horses offer a comparison with the solitary walking animal. Image source. Public domain.

A rider's identity and a ruler's presence

Another comparison shows how differently a mounted figure can be identified. The Metropolitan Museum of Art's Study for The Sultan of Morocco and His Entourage, dated 1832–33, represents a documented subject associated with the French diplomatic mission to Morocco following France's 1830 invasion of Algeria. The museum identifies the sultan, members of his entourage, the French envoy Charles de Mornay and an interpreter.[10]

In that brown-ink study, the mounted ruler occupies the centre beneath a parasol to the left, with ranks of figures extending towards the right. Sparse contours and darker patches establish the arrangement without filling every space. The surrounding people make the horse and rider part of a public assembly. Their presence changes the meaning of the central figure's prominence: it belongs to a social order as well as a composition.

The Musée des Augustins' large 1845 oil painting, Moulay Abd-er-Rahman, Sultan du Maroc, sortant de son palais de Meknès, entouré de sa garde et de ses principaux officiers, develops the mounted ruler into a commanding ceremonial image.[11] The pale-clad sultan and grey horse stand before an ochre wall, with a large parasol overhead and guards' upright weapons repeated across the right. The French delegation visible in the earlier study is absent from this painted arrangement.

Beside that crowded ceremony, A Turkish Man on a Grey Horse feels unusually exposed. There is no architectural enclosure or surrounding rank of attendants to explain the rider's position. The blue coat, patterned equipment and spear give him a striking appearance, but the scene's strongest statement remains visual: a man looks one way while his horse carries him another, across a shore broad enough to leave the reason for his glance unresolved.

Study for The Sultan of Morocco and His Entourage, 1832–33, brush and brown ink. The Metropolitan Museum of Art; 2013.1135.20. A documented subject, distinct from the undated Turkish horseman.
Study for The Sultan of Morocco and His Entourage, 1832–33, brush and brown ink. The Metropolitan Museum of Art; 2013.1135.20. A documented subject, distinct from the undated Turkish horseman. The Metropolitan Museum of Art, Open Access. Image source. CC0 / Public domain. Resized only; native appearance preserved.

The Sultan of Morocco, 1845, oil on canvas. Musée des Augustins, Toulouse; 2004 1 99. The ceremonial arrangement differs from both the earlier study and the open shore of the Turkish horseman.
The Sultan of Morocco, 1845, oil on canvas. Musée des Augustins, Toulouse; 2004 1 99. The ceremonial arrangement differs from both the earlier study and the open shore of the Turkish horseman. Didier Descouens, 26 November 2017, via Wikimedia Commons; Musée des Augustins. Image source. CC BY-SA 4.0. Resized only; native appearance preserved.

Annotated Details from Horse and Rider Comparisons

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

Horses Leaving the Sea

Horses Coming Out of the Sea, 1860, oil on canvas. The Phillips Collection; 0486. A distinct work whose overlapping horses offer a comparison with the solitary walking animal. Image source. Public domain.

Annotated details from Horses Leaving the Sea by Eugène Delacroix

Study for The Sultan of Morocco and His Entourage

Study for The Sultan of Morocco and His Entourage, 1832–33, brush and brown ink. The Metropolitan Museum of Art; 2013.1135.20. The Metropolitan Museum of Art, Open Access. Image source. CC0 / Public domain. Numbers added to a separate overview; broad detail images are crops of the complete native source. No colour, scale or perspective changes.

Annotated details from Study for The Sultan of Morocco and His Entourage by Eugène Delacroix

Details from HORSE AND RIDER COMPARISONS

Compare these broad details with their positions in the complete reproductions. The Turkish horseman’s small original image is discussed separately from these comparison works.

Horses Leaving the Sea

1

The red rider between the horses

Red clothing stands out above the grey horse. The rider’s arm and bare leg join the two animals’ directions.

The red rider between the horses detail from Horses Leaving the Sea by Eugène Delacroix
2

The chestnut rises from the water

The dark horse’s raised neck and lifted forelegs interrupt the horizontal bands of water and shore.

The chestnut rises from the water detail from Horses Leaving the Sea by Eugène Delacroix
3

The grey horse meets the shore

A pale flank and bent foreleg carry the movement towards land. Broken light marks the disturbed water beneath.

The grey horse meets the shore detail from Horses Leaving the Sea by Eugène Delacroix
4

A boat at the edge of the view

The cropped boat occupies the near right corner. Its dark edge brings the shoreline close to the viewer.

A boat at the edge of the view detail from Horses Leaving the Sea by Eugène Delacroix

Study for The Sultan of Morocco and His Entourage

5

A parasol rises over the mounted figure

A dark arc and a small area of wash establish the canopy. Its long sloping shaft connects the high shape with the people below.

A parasol rises over the mounted figure detail from Study for The Sultan of Morocco and His Entourage by Eugène Delacroix
6

The rider and horse share a narrow centre

Looping contours and darker touches distinguish the rider, the horse’s head and its separated legs. Much of the paper remains open around them.

The rider and horse share a narrow centre detail from Study for The Sultan of Morocco and His Entourage by Eugène Delacroix
7

A few lines establish the gateway

A broad arch appears beneath a broken line of wall. The abbreviated architecture gives a setting without competing with the gathering in front.

A few lines establish the gateway detail from Study for The Sultan of Morocco and His Entourage by Eugène Delacroix
8

Figures gather along the right edge

Repeated head shapes and long garment contours suggest a group beside the mounted ruler. Stronger dark passages separate particular heads and bodies.

Figures gather along the right edge detail from Study for The Sultan of Morocco and His Entourage 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 A Turkish Man on a Grey Horse. These editorial prompts invite your observations.

Reader Insights

Editorial prompt · Follow the composition

Follow the horse’s movement to the right, then the rider’s gaze to the left. How do the opposing directions hold the composition?

Editorial prompt · Look again

Compare this rider with Horses Coming Out of the Sea. How do the water, animals and horizon organise the two scenes?

Join the Conversation

Share a detail, comparison or question about A Turkish Man on a Grey Horse below.

References

  1. Sotheby's, “Eugene Delacroix (French, 1798–1863): A Turkish Man on a Grey Horse”, 19th Century Paintings, Sculpture & Works of Art, sale N07716, 2001, lot 20, unpaginated online catalogue. Catalogue entry. English. Access recorded 28 October 2026. View source.
  2. 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.
  3. The Metropolitan Museum of Art, “The Giaour on Horseback”, Eugène Delacroix, 1824–26, accession 2015.713.2, collection record and recto image. Source language: English. Accessed 27 October 2026. View source.
  4. 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.
  5. 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.
  6. 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.
  7. 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.
  8. Mar Borobia, “Jinete árabe”, Museo Nacional Thyssen-Bornemisza, collection entry and commentary, inventory 1972.20, unpaginated online text. Collection entry. Spanish. Access recorded 28 October 2026. View source.
  9. The Phillips Collection, “Horses Coming Out of the Sea”, Eugène Delacroix, 1860, collection record and commentary, accession 0486, unpaginated. Collection entry. English. Access recorded 28 October 2026. View source.
  10. The Metropolitan Museum of Art, “Study for The Sultan of Morocco and His Entourage”, Eugène Delacroix, 1832–33, collection record and commentary, object 2013.1135.20, unpaginated. Collection entry. English. Access recorded 28 October 2026. View source.
  11. Musée des Augustins, Toulouse, “Moulay Abd-er-Rahman, sultan du Maroc, sortant de son palais de Meknès, entouré de sa garde et de ses principaux officiers”, Eugène Delacroix, 1845, collection record, inventory 2004 1 99, unpaginated. Collection entry. French. Access recorded 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. 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.
  14. 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.
  15. The Metropolitan Museum of Art, “Fallen Warriors and a Runaway Horse”, collection record, object details, curatorial commentary and collection image; unpaginated. Source language: English. Accessed 28 October 2026. View source.
  16. The Metropolitan Museum of Art, “George Sand’s Garden at Nohant,” Eugène Delacroix, collection record, accession 22.27.4; object details and curatorial overview. Source language: English. Accessed 27 October 2026. View source.
  17. 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.
  18. 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.
  19. 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.
  20. 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.
  21. 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.
  22. 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.
  23. 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.
  24. Musée du Louvre, Scènes des massacres de Scio, INV 3823, 1824. Object details and historical record. French. Accessed 28 October 2026. View source.
  25. Musée du Louvre, Mort de Sardanapale, RF 2346, 1827. Object details and historical record. French. Accessed 28 October 2026. View source.
  26. Philadelphia Museum of Art, The Death of Sardanapalus, object 82626, 1986-26-17, dated 1844. Heading and short commentary; dating differs from the 2018 catalogue. English. Accessed 28 October 2026. View source.
  27. Musée du Louvre, Dante et Virgile, dit aussi La barque de Dante, INV 3820, 1822; object metadata and history. French. Accessed 28 October 2026. View source.
  28. Musée du Louvre, Jeune orpheline au cimetière, RF 1652, 1824; object metadata and history. French. Accessed 28 October 2026. View source.
  29. Musée des Beaux-Arts de Bordeaux, La Grèce sur les ruines de Missolonghi, Bx E 439, 1826; collection record and audio transcript. French. Accessed 28 October 2026. View source.
  30. Ville de Paris, Retrouvez les chefs d’œuvres de Delacroix à la chapelle des Saints-Anges de Saint-Sulpice, updated 30 November 2016; chapel commission/completion and material history. French. Accessed 28 October 2026. View source.
  31. Musée du Louvre, Pirates africains enlevant une jeune femme, RF 1965 9, 1852; object record, interpretation and provenance. French. Accessed 28 October 2026. View source.
  32. Qatar Museums, Tales of a Connected World: About the Galleries; Arab Horseman at the Gallop, 1849, Lusail Museum Collection, and Delacroix’s Gaze. English. Accessed 28 October 2026. View source.
  33. National Gallery of Art, Arabs Skirmishing in the Mountains, 1863, 1966.12.1; object metadata, interpretation and provenance. English. Accessed 28 October 2026. View source.
  34. J. Paul Getty Museum, Moroccan Horseman Crossing a Ford, about 1850, 2001.42; Getty-authored commentary and metadata on Google Arts & Culture. English. Accessed 28 October 2026. View source.
  35. State Hermitage Museum, Moroccan Saddling a Horse, 1855, ГЭ-3852; complete indexed Russian owner text and object fields. Russian. Accessed 28 October 2026. View source.
  36. Paris Musées / Petit Palais, Le Combat du Giaour et du Pacha,1835,PDUT1162; object record and interpretation. French. Accessed 28 October 2026. View source.
  37. Art Institute of Chicago, The Combat of the Giaour and Hassan,1826; owner-authored Google Arts & Culture object record. English. Accessed 28 October 2026. View source.
  38. Ackland Art Museum, Cleopatra and the Peasant,1838,59.15.1; indexed owner object fields. English. Accessed 28 October 2026. View source.
  39. The Wallace Collection, The Execution of the Doge Marino Faliero,1825–26,P282; object record and description. English. Accessed 28 October 2026. View source.
  40. National Gallery of Art, Christopher Columbus and His Son at La Rábida,1838,1963.10.127; object record and provenance. English. Accessed 28 October 2026. View source.
  41. Musée d’Orsay, Chevaux arabes se battant dans une écurie,1860,RF1988; indexed owner object fields. French. Accessed 28 October 2026. View source.
  42. Museum of Fine Arts, Budapest / Zsuzsa Gonda, Horse Frightened by Lightning,1825–29,D_1935-2698; owner-authored Google Arts & Culture record and essay. English. Accessed 28 October 2026. View source.
  43. The Phillips Collection, Horses Coming Out of the Sea,1860,0486; collection record and commentary. English. Accessed 28 October 2026. View source.
  44. Musée du Louvre, Jeune Tigre jouant avec sa mère,1830,RF1943; full object record and history. French. Accessed 28 October 2026. View source.
  45. Christie’s, Tigre jouant avec une tortue,1862; Rockefeller2018 sale16718 lot3, record and essay. English. Accessed 28 October 2026. View source.
  46. National Gallery of Art, Tiger, about1830,1943.3.3375; indexed owner record, inscription and visual description. English. Accessed 28 October 2026. View source.
  47. National Gallery of Art, Tiger and Snake,1862,2014.136.30; indexed owner record, provenance and visual description. English. Accessed 28 October 2026. View source.
  48. Musée d’Orsay, Chasse au tigre,1854,RF1814; indexed owner record and commentary. French/English. Accessed 28 October 2026. View source.
  49. State Hermitage Museum, Lion Hunt in Morocco,1854,3853; official guide2014,entry195,pp248–249. English. Accessed 28 October 2026. View source.
  50. Alfred Robaut / Ernest Chesneau, L’Œuvre complet de Eugène Delacroix,1885,p279,entry1054,watercolour Lion déchirant un cadavre. French. Accessed 28 October 2026. View source.
  51. Musée du Louvre, Frédéric Chopin, 1838, RF 1717; current owner record of the surviving fragment. French. Accessed 28 October 2026. View source.
  52. Museum Ordrupgaard, George Sand, 1838, 280WH; current owner dimensions/materials/signature record. Danish. Accessed 28 October 2026. View source.
  53. Musée du Louvre, Preparatory study for Chopin and George Sand, circa 1838, RF 9357; owner record and commentary. French/English. Accessed 28 October 2026. View source.
  54. Musée du Louvre, Portrait de Léon Riesener, 1835, RF 1960 58; current owner metadata, label transcription and commentary. French. Accessed 28 October 2026. View source.
  55. The National Gallery, London, Louis-Auguste Schwiter, 1826–30, NG 3286; current owner record and in-depth commentary. English. Accessed 28 October 2026. View source.
  56. Musée du Louvre, Nu assis, dit Mademoiselle Rose, about 1820, RF 1942 14; complete owner object record. French. Accessed 28 October 2026. View source.
  57. Musée Fabre, Étude d’après le modèle Aspasie, about 1824, 868.1.36; current owner fields and short commentary. French. Accessed 28 October 2026. View source.
  58. Musées d’Orléans, Head of an Old Greek Woman, study for Chios,1824,96.2.1; full owner record and commentary. French. Accessed 28 October 2026. View source.
  59. Art Fund, Head of a Woman in Red Turban By Lamplight; archive date1831, rounded dimensions and1962acquisition support; archive cautions record notupdated. English. Accessed 28 October 2026. View source.
  60. National Gallery of Art, Two Studies of a Standing Indian from Calcutta,c1823/1824,2006.128.18; current owner record and visual description. English. Accessed 28 October 2026. View source.
  61. National Gallery of Art, Two Studies of an Indian from Calcutta,Seated and Standing,c1823/1824,2006.128.19; separate comparative canvas,current owner record. English. Accessed 28 October 2026. View source.
  62. Musée du Louvre, The Assassination of the Bishop of Liège,1829,RF1961 13; complete owner fields and selected provenance. French. Accessed 28 October 2026. View source.
  63. Musée des Beaux-Arts de Nancy, The Battle of Nancy, signed1831,177; current object fields, narrative and acquisition history. French. Accessed 28 October 2026. View source.
  64. Musée des Beaux-Arts de Lyon, Last Words of the Emperor Marcus Aurelius,1844,A2928; complete owner record and interpretation. French. Accessed 28 October 2026. View source.
  65. Mar Borobia, Museo Nacional Thyssen-Bornemisza, The Duke of Orléans Showing His Lover,about1825–26,127(1977.19); complete object record and essay. English. Accessed 28 October 2026. View source.
  66. Musée du Louvre, Entry of the Crusaders in Constantinople,1840,INV3821/LP4674; current owner description, commission and provenance. French. Accessed 28 October 2026. View source.
  67. Musée du Louvre, Medea,1862,RF1402; later variant of the1838Lilleoriginal,current object record. French. Accessed 28 October 2026. View source.
  68. Musée du Louvre, The Shipwreck of Don Juan,1840,RF359; current owner fields and1883gift record. French. Accessed 28 October 2026. View source.
  69. Musée du Louvre, The Bride of Abydos,RF1398; current dimensions/bequest and broad date differing from the2018catalogue. French. Accessed 28 October 2026. View source.
  70. Palais des Beaux-Arts de Lille, Medea About to Kill Her Children,1838,P542; the earlier large original,current owner record. French. Accessed 28 October 2026. View source.
  71. Kimbell Art Museum, Selim and Zuleika,1857,AP1986.04; separate final version, complete indexed owner narrative/provenance. English. Accessed 28 October 2026. View source.
  72. Art Gallery of Ontario, The Bride of Lammermoor,about1826,80/83; graphite,watercolour andgouache,collection/provenance record. English. Accessed 28 October 2026. View source.
  73. Christie’s, Cromwell at Windsor Castle,1828,Johnson129;2002auction record/lotessay and1831Salon listing. English. Accessed 28 October 2026. View source.
  74. Musée Fabre, Michelangelo in His Studio,1850,868.1.40;current object fields andinterpretive notice. French. Accessed 28 October 2026. View source.
  75. Kunsthaus Zürich, Milton Dictating Paradise Lost to His Daughters,1827–28,1988/0028;current ownerPDF. English. Accessed 28 October 2026. View source.
  76. Sammlung Oskar Reinhart Am Römerholz, Tasso in the Madhouse,1839,oil60×50cm;owner object record. English. Accessed 28 October 2026. View source.
  77. The National Gallery, London, Christ on the Cross,1853,NG6433;oil73.5×59.7cm,currentobjectrecord. English. Accessed 28 October 2026. View source.
  78. The Walters Art Museum, Christ on the Sea of Galilee,1854,37.186;oil59.8×73.3cm,currentobjectrecord. English. Accessed 28 October 2026. View source.
  79. Brooklyn Museum, The Disciples at Emmaus,1853,50.106;oil55.2×47cm,currentobjectrecord. English. Accessed 28 October 2026. View source.
  80. INHA / Joconde, La Mise au tombeau,copyafterTitian,LyonB286;oil40×55.5cm,nineteenthcentury,currentobjectfields. French. Accessed 28 October 2026. View source.
  81. Nasjonalmuseet, Oslo, Pietà,about1850,NG.M.01179;oil35.6×27cm,currentobjectrecord. English. Accessed 28 October 2026. View source.
  82. Minneapolis Institute of Art, Convulsionists of Tangier,1837–38,73.42.3;oil95.57×128.59cm,owner-published collection data. English. Accessed 28 October 2026. View source.
  83. Musée du Louvre, Mariée juive à Tanger,undated,RF4614Recto;watercolour/graphite28.5×23.2cm,currentobjectrecord. French. Accessed 28 October 2026. View source.
  84. Musée du Louvre, Noce juive dans le Maroc,1839,INV3825/LP4737;oil105×140.5cm,Salon1841,currentobjectrecord. French. Accessed 28 October 2026. View source.
  85. Swiss Federal Office of Culture, Marokkanische Soldaten bei einer Gefechtsübung,1847,SOR1936.3;oil66×82cm,Römerholz,currentobjectrecord. German. Accessed 28 October 2026. View source.
  86. Musée des Augustins, Toulouse, Moulay Abd-er-Rahman,sultan du Maroc,1845,2004 1 99;oil384×344cm,currentobjectrecord. French. Accessed 28 October 2026. View source.
  87. French Ministry of Culture / Musée Fabre, Bouquet de fleurs, 1843, inventory 876.3.101; black pencil and watercolour, 20.5 × 26.4 cm. Current Joconde collection record. French. Accessed 28 October 2026. View source.
  88. Musée du Louvre, Bouquet de fleurs, 1849, RF 31719, Recto; watercolour, gouache and pastel over black pencil on two joined sheets of grey paper, 65 × 65.4 cm. Current collection record. French. Accessed 28 October 2026. View source.
  89. Musée Marmottan Monet, Monet collectionneur – Chefs-d’œuvre de sa collection privée, 2017 press dossier, printed p.24 (PDF p.23). Cliffs near Dieppe, 1852–55, watercolour, 20 × 30.7 cm; reproduction and collection history. French. Accessed 28 October 2026. View source.
  90. National Gallery of Art, Washington, The Edge of a Wood at Nohant, c.1842/1843, accession 1985.16.2; watercolour, 15.5 × 20.5 cm. Current collection record. English. Accessed 28 October 2026. View source.
  91. Musée du Louvre, La mer vue des hauteurs de Dieppe, RF 1979-46; oil on cardboard glued to wood, 36 × 52 cm. Current collection record; 1852 dating follows the 2018 Delacroix catalogue, no.128. French. Accessed 28 October 2026. View source.
  92. Musée du Louvre, Nature morte au homard, RF1661,1826–27, oil on canvas80.5×106.5cm. French. Accessed 28 October 2026. View source.
  93. Musée du Louvre, Coin d’atelier. Le poêle, RF2058,1825–1850,oil51×43.4cm; doubtful signature and disputed attribution. French. Accessed 28 October 2026. View source.
  94. Musée du Louvre, Etude de ciel au soleil couchant, RF3706 Recto,c1849,pastel on grey paper19.2×23.8cm. French. Accessed 28 October 2026. View source.
  95. Ministero della Cultura / Gallerie degli Uffizi, Autoritratto di Delacroix,0900099717,Inv1890no3914,c1840,oil66×54cm; complete six-page SIGEC record. Italian. Accessed 28 October 2026. View source.
  96. Musée du Louvre / Musée national Eugène-Delacroix, Portrait de Delacroix en Hamlet, formerly Ravenswood,MD2021-2/RF1953-38,c1821,oil41×33cm. French. Accessed 28 October 2026. View source.
  97. Musée Fabre, Femmes d’Alger dans leur intérieur, 1849, 868.1.38, oil on canvas, 85 × 112 cm. French. Accessed 28 October 2026. View source.
  98. Musée des Beaux-Arts de Lyon, Femme caressant un perroquet, 1827, B 566, oil on canvas, 24.8 × 33 cm. French. Accessed 28 October 2026. View source.
  99. Palais des Beaux-Arts de Lille, Suzanne et les vieillards, 1841, P 986, oil on canvas, 27 × 35.5 cm. French. Accessed 28 October 2026. View source.
  100. Kunstmuseum Basel, Ein sterbender Brigant trinkt an einer Quelle, c.1825, 1726, oil on canvas, 32.7 × 40.8 cm. German. Accessed 28 October 2026. View source.
  101. The Metropolitan Museum of Art, The Education of Achilles, c.1844, 2014.732.3, graphite, 23.6 × 29.7 cm. English. Accessed 28 October 2026. View source.
  102. Assemblée nationale, Attila and His Hordes Overrun Italy and the Arts, War hemicycle detail, library of the Palais Bourbon, completed 1847, oil and wax on plaster. French. Accessed 28 October 2026. View source.
  103. The Metropolitan Museum of Art, Théâtre Italien, 13 August 1821, 2004.198, lithograph, sheet 25.6 × 18.6 cm. English. Accessed 28 October 2026. View source.
  104. The Metropolitan Museum of Art, Macbeth Consulting the Witches, 1825, 22.63.19, lithograph, third state of five. English. Accessed 28 October 2026. View source.
  105. Musée du Louvre, Hamlet et Horatio au cimetière, 1839, RF 1942, oil on canvas, 82 × 65 cm. French. Accessed 28 October 2026. View source.
  106. National Gallery, London, Ovid among the Scythians, 1859, NG6262, oil on canvas, 87.6 × 130.2 cm. English. Accessed 28 October 2026. View source.
  107. Museum of Fine Arts, Houston, The Abduction of Rebecca, Eugène Louis Lami, 1873, 88.341. Comparative attribution correction; not a Delacroix work. English. Accessed 28 October 2026. View source.
  108. The Metropolitan Museum of Art, Devotion to Drawing: The Karen B. Cohen Collection of Eugène Delacroix, 2018 exhibition overview. English. Accessed 28 October 2026. View source.
  109. New York Public Library, Print Collection: Print Glossary, definitions of impression, state, edition and processes. English. Accessed 28 October 2026. View source.
  110. Museum of Fine Arts, Boston, CAMEO, Lithograph, planographic printing glossary. English. Accessed 28 October 2026. View source.
  111. Musée Eugène-Delacroix, Delacroix and colour, 5 July 2022, collection article. English. Accessed 28 October 2026. View source.
  112. Musée du Louvre, Eugène Delacroix: artist biography. French. Accessed 28 October 2026. View source.
  113. Eugène Delacroix / Philippe Burty, editor, Lettres (1815–1863), Paris: A. Quantin, 1878, pp. 120–121; the published extract of 25 January 1832 and opening of 8 February. French. Accessed 28 October 2026. View source.
  114. The Metropolitan Museum of Art, A Wall Decorated in Spanish Tiles, 1832, 2013.1135.16; collection record. English. Accessed 28 October 2026. View source.
  115. National Gallery of Art, Washington, Mephistopheles in the Air, 1828, 1994.60.13; first state of five. English. Accessed 28 October 2026. View source.
  116. The Metropolitan Museum of Art, Hamlet Sees the Ghost of His Father on the Terrace, 1843, 22.56.7; first state of five. English. Accessed 28 October 2026. View source.
  117. Eugène Delacroix / Paul Flat and René Piot, editors, Journal, 22 June 1863; Paris: Plon, 1893, volume III, page 438. French. Accessed 28 October 2026. View source.
  118. Musée du Louvre, Apollo Slays Python, 1850–51; INV 3818. Collection record. French. Accessed 28 October 2026. View source.

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