Delacroix’s painting, Le Mort de Sardanapalus was exhibited in the Salon of le Musee de Louvre in 1827. A narrative painting, it is a dramatic portrayal of the death of King Sardanapulus, inspired by Lord Byron’s dramatic play ‘Sardanapulus’, of 1821, portraying the life of an Assyrian King. As a prominent figure within the French Romanticist movement, Delacroix effectively combines romanticism with Orientalism as he depicts the Orient as lavish, exotic and opulent. Le Mort de Sardanapalus belongs to a cycle of Orientalist works of art by Delacroix, after his curiosity with the Orient led him to visit Morocco in 1832, which undoubtedly had a lasting impact on his art. However, Delacroix’s painting was met with a somewhat hostile reception; …show more content…
Delacroix’s painting offers no clear recession into depth, in that the vague contouring of the figures prevents any such scale or perspective. For example, Sardanapulus’ head seems diminutive in comparison to the female figures in the foreground and Sardanapalus’ death bed seems to hover in the centre of the painting without any clear relationship to the angle of the walls surrounding it. Sardanapalus’ unaffected gaze produces a striking juxtaposition with the audience’s horrified reaction. The double layer of perspective creates a tension within the painting, as Sardanapulus’ perspective watching the scene unfold is entirely different to that of the viewer, who looks on in horror. *compare to massacre de mamelouks*Delacroix abandons traditional notions, (WHAT WERE TRADITIONAL NOTIONS) concerning form in this painting, adapting his own personal style. The lack of control within the painting, conveyed by the broken up outlines and roughened contours is somewhat reminiscent of Delacroix’s fantasy of the Orient and how he wanted it to be depicted as a crazed, chaotic place. The sense of violence, confusion and savage chaos are invoked by the shocking imagery of the painting. Not only are we faced with the expression on the horse’s face of terror, but the delicate bodies of three concubines, who have or are being slaughtered. Such violent imagery caused critics to view Delacroix as overstepping the boundaries of proper decorum in the 20th century world of art. The unstructured composition of the painting such as rough contouring and broad brushstrokes points to the shared view that the painting was produced through an emotional reaction to the original poem of Lord Byron rather than a careful masterpiece of work sticking to painterly guidelines, as Delacroix seemingly attempts
...elationship between the people in the composition and their feelings in each other’s company. The viewer is forced to think critically about the people in the painting and their feelings and body language.
Oftentimes the lens we use when interpreting any art is based on our interpretation of the truth of the story – if a story is perceived as historically accurate, we look at the story as co...
The Interpretation/Meaning (III) will be written without any guideline points, the aim of this part will be to determine what the painter wanted to express with his piece of work and what it tells us in a symbolic or not instantly clear way. This part will also handle why the artist drew the painting the way he did it and why he chose various techniques or tools.
images in this painting, all of which have the power to symbolize to us, the viewer, of the painter’s
Both Laurent de La Hyre’s Panthea, Cyrus, and Araspas (1631) and Bartolomeo Manfredi’s Cupid Chastised (1613) contain three central figures, two male and one female, and engage with classical information. Both of these rectangular oil paintings present ideas on the danger of love and repression of sexuality. However, each artist's construction of the body, action, and interaction colors these discussions. Through these modes, Manfredi presents a more physical conception of erotic love while De La Hyre presents a more detached idea of temptation.
In fact, some of the works presented depict mythological paintings that resemble the transcending Metaphysical matter of nature. Take for instance, the general aspect of the artworks presented in this chapter. They depict different social levels through the use of objects, emotions and various conditions. The lower status contradicts, the slaves to the wealthy and royalty, all delineate the role of the people present in the society and their everyday life. In the images, the poor and the slaves depicted with little to no possessions, looking tired and over-worked. Through their everyday labor, they must survive as a less fortunate person. In contrast to the images of the po...
...olour scheme used showed how much value was engaged in the style and material that were presented in the painting. In evaluating the chapter comparing to the painting the author felt that the beginning of the era the skill level was often not acknowledged whereas materials were, but at the end of the era, skill level played a larger factor in who was chosen to complete the artwork. Therefore, the significance of the applicability of the chapter to the fresco painting changed as a deposit of relations of the artist and art they created with there talent, style, and skills.
Throughout this painting there are many lines that are either actual or implied, the way these lines were used will help point out and support my thesis. The fencing which
His father was a devout Catholic and denounced his son’s works. This painting is displayed as rising out of their troubled relationship together but it resists precise analysis. His revolt against his father is highlighted through, “But, dear Father, for what reason are you so opposed to dreams…? It would seem to me that dreams are a bastion against the regularity and familiarity of life and interrupt the perpetual earnestness of adults with a joyous children’s game.”
Delacroix created more than 850 paintings, drawings, murals and other works in his career. Delacroix’s most influential work and most romantic is Liberty Leading the People. It was also called “le 28 Juillet and La Liberte conduissant le people aux barricades”. The French Revolution, 1830, inspired the last of his paintings to be called Romantic. Delacroix’s technique was to apply contrasting colors, creating a vibrant effect with small brush strokes.
The gestural and heavy working of the paint and the contrasting colors make the painting appear active yet are arduous to follow. The defining element of Woman and Bicycle is the presence of the black lines that do most of the work in terms of identifying the figure. Through the wild nature of the brushwork, color, and composition of the painting, it can be implied that the artist is making an implication towards the wild nature of even the most proper of women.
...s work The 3rd of May, 1808 is a very detailed and dramatic narrative within a collection of war themed works by the artist. I believe that by using the formal elements of color, texture, shape, lines, space, and the value I was able to sufficiently provide evidence that Goya offers a sequential order of direction for the audience to comprehend from their personal viewing. The twisted and grief stricken work creates a massive emotional connection and the artist plans for the viewers’ to grow and understand this message. The subject highlighted is obvious that Goya is passionate on his stance and outlook on war is suggested in the work. It’s obvious that Goya’s formal organization of his color palette, variation of brushes, repeating shapes, and play with lighting all correspond to depict man’s savage and at times monstrous actions are justified during war.
This oil painting is set in the 1800’s according to the author’s time period that he was alive. The context of the painting has the setting take place on a train with three people in the viewer’s perspective: a seated lady
Eugene Delacroix was Born in France on April 26th 1798 and died at the age of 65 on August 13th 1863. Delacroix is defined as a romantic artist (Jobert). The romanticism period was influenced by the industrial revolution and the political turmoil in France due to the changing of government during this time period (French Revolution). Delacroix never truly considered himself a romantic painter, but rather wanted to be known as a more classical painter (Delacroix and Pach). I would like to say that Delacroix reflected a multitude of styles and techniques, and that Delacroix cannot be pinned to one specific style of art. To show the complexity of Delacroix’s styles and influences I will use The Justice of Tragan to exemplify styles such as classicism, romanticism, Baroque, and early stages of impressionism. To give further support of the versatility of Delacroix paintings, I will also re-visit Dante and Virgil to show aspects other than the romantic themes previously discussed in class. I will be comparing Michelangelo’s Dawn to Dante and Virgil to help support my claims. As well as I will be comparing Monet’s Camille Monet in the Garden to Delacroix’s Odalisque to give further evidence of different style in his typically romantic paintings.
Ferdinand Victor Eugene Delacroix (1798-1863) was a French romantic artiste viewed from the birth of his profession as the principal of the French romantic school. Delacroix took for his muse the art of Rubens and artist of the Venetian Renaissance, through an associated attention on shade and motion rather than precision of the sketches and cautiously replica format. Delacroix was particular to neither over-romanticizing or to pretentiousness; furthermore his Romanticism was that of a nonconformist (Kadivar, 2010). ...