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德拉克罗瓦

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德拉克罗瓦
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欧仁•德拉克罗瓦(Eugène Delacroix,1798年4月26日-1863年8月13日)法国著名的浪漫主义画家。他继承和发展了文艺复兴以来欧洲威尼斯画派、荷兰画派以及鲁本斯、康斯特布尔等艺术家们的优秀传统,反对学院派古典主义的程式化风格。他早期以澎湃的激情、大胆的构图、绚丽的色彩、奔放的韵律创作出《但丁的小舟》、《自由领导着人民》、《撒丹纳巴勒斯之死》等一系列优秀的人物画。34岁至摩洛哥、阿尔及利亚旅行,从此画风转变,作品逐渐脱离现实生活,注重唯美的艺术情调,沉浸于幻想的主观世界中,代表作有《阿尔及尔妇女》、《摩洛哥犹太人的婚礼》等。

  • 中文名: 斐迪南•维克多•欧根•德拉克洛瓦
  • 外文名: Ferdinand Victor Eugène Delacroix
  • 出生地: 法国瓦勒德马恩省
  • 国籍: 法国
  • 逝世日期: 1863年8月13日
  • 出生日期: 1798年4月26日
  • 职业: 画家
  • 代表作品: 《自由引导人民》等

人物生平


1798年4月26日出生于法国瓦勒德马恩省,全名斐迪南•维克多•欧根•德拉克洛瓦(Ferdinand Victor Eugène Delacroix)。

1816年进入美术学院,师从法国古典主义画派画家皮埃尔-纳西斯•盖兰学习绘画,但却非常欣赏荷兰画家彼得•保罗•鲁本斯的强烈色彩的绘画,并受到同时代画家杰利柯的影响,热心发展色彩的作用,成为浪漫主义画派的典型代表。他的画作对后期崛起的印象派画家和梵高的画风有很大的影响。

他1830年的著名画作《自由引导人民》影响了浪漫主义作家维克多•雨果,30年后写成著名的文学作品《悲惨世界》(1862)。该文学作品是对德拉克罗瓦画作的呼应。这幅画曾被印入法国政府发行的100法郎的钞票和1980年的邮票上。据说印象派画家从他的作品《十字军进入君士坦丁堡》前景的女人背部色彩运用上得益不少。

1832 年的北非之旅,为他敞开了一个崭新的视野,从阿拉伯人和犹太人的生活、动物的题材,拜伦﹝Byron﹞诗句里的意象,到土希战争的典故,都成为德拉克洛瓦创作巨幅作品的题材。1830 年代中期,他开始受到政府器重,接下许多大规模装饰画的製作工程,这些工程是他的终生对手安格尔﹝Ingres﹞求之而不得的。但是他最喜爱的则是挥洒自如、色彩丰富的小品画,描绘战争、狩猎、动物间的格斗等题材,以及肖邦等好友的肖像画。

德拉克罗瓦于1863年8月13日在巴黎菲尔斯滕贝格广场的公寓中去世,埋葬于拉雪兹神父公墓。他的遗产管理人在他的画室里找到他的作品共9000多件,其中油画853件,粉画和水彩画1525件,素描6629件,铜版画24件,石版画109件,速写本60余本,另外还有构思的草图、记忆画、古代大师作品的临摹等。其中有一部记有对色彩学深入研究的日记。

德拉克罗瓦是法国人民的骄傲,他的大部分作品被保存在巴黎罗浮宫,罗浮宫专为保存他的作品辟出好几间展室。

英文生平


以下英文版德拉克罗瓦生平介绍来自维基百科,点击德拉克罗瓦可前往原文网页。

Early life

Eugène Delacroix was born on 26 April 1798 at Charenton-Saint-Maurice in Île-de-France, near Paris. His mother was named Victoire Oeben, the daughter of the cabinet-maker Jean-François Oeben. He had three much older siblings. Charles-Henri Delacroix (1779–1845) rose to the rank of General in the Napoleonic army. Henriette (1780–1827) married the diplomat Raymond de Verninac Saint-Maur (1762–1822). Henri was born six years later. He was killed at the Battle of Friedland on 14 June 1807.

There are medical reasons to believe that Eugène's legitimate father, Charles-François Delacroix, was not able to procreate at the time of Eugène's conception. Talleyrand, who was a friend of the family and successor of Charles Delacroix as Minister of Foreign Affairs, and whom the adult Eugène resembled in appearance and character, considered himself as his real father. After assuming his office as foreign minister Talleyrand, dispatched Delacroix to The Hague in the capacity of French ambassador to the then Batavian Republic. Delacroix who at the time suffered from erectile dysfunction returned to Paris in early September 1797, only to find his wife pregnant. Talleyrand went on to assist Eugène in the form of numerous anonymous commissions. Throughout his career as a painter, he was protected by Talleyrand, who served successively the Restoration and king Louis-Philippe, and ultimately as ambassador of France in Great Britain, and later by Charles Auguste Louis Joseph, duc de Morny, half-brother of Napoleon III and speaker of the French House of Commons. His legitimate father, Charles Delacroix, died in 1805, and his mother in 1814, leaving 16-year-old Eugène an orphan.

His early education was at the Lycée Louis-le-Grand, and at the Lycée Pierre Corneille in Rouen where he steeped himself in the classics and won awards for drawing. In 1815 he began his training with Pierre-Narcisse Guérin in the neoclassical style of Jacques-Louis David. An early church commission, The Virgin of the Harvest (1819), displays a Raphael-esque influence, but another such commission, The Virgin of the Sacred Heart (1821), evidences a freer interpretation. It precedes the influence of the more colourful and rich style of the Flemish Baroque painter Peter Paul Rubens, and fellow French artist Théodore Géricault, whose works marked an introduction to Romanticism in art.

The impact of Géricault's The Raft of the Medusa was profound, and stimulated Delacroix to produce his first major painting, The Barque of Dante, which was accepted by the Paris Salon in 1822. The work caused a sensation, and was largely derided by the public and officialdom, yet was purchased by the State for the Luxembourg Galleries; the pattern of widespread opposition to his work, countered by a vigorous, enlightened support, would continue throughout his life. Two years later he again achieved popular success for his The Massacre at Chios.

Career

Chios and Missolonghi

Delacroix's painting of the massacre at Chios shows sick, dying Greek civilians about to be slaughtered by the Turks. One of several paintings he made of this contemporary event, expressed the official policy for the Greek cause in their war of independence against the Turks, war sustained by English, Russian and French governments. Delacroix was quickly recognized by the authorities as a leading painter in the new Romantic style, and the picture was bought by the state. His depiction of suffering was controversial, however, as there was no glorious event taking place, no patriots raising their swords in valour as in David's Oath of the Horatii, only a disaster. Many critics deplored the painting's despairing tone; the artist Antoine-Jean Gros called it "a massacre of art". The pathos in the depiction of an infant clutching its dead mother's breast had an especially powerful effect, although this detail was condemned as unfit for art by Delacroix's critics. A viewing of the paintings of John Constable and the watercolour sketches and art of Richard Parkes Bonnington prompted Delacroix to make extensive, freely painted changes to the sky and distant landscape.

Delacroix produced a second painting in support of the Greeks in their war for independence, this time referring to the capture of Missolonghi by Turkish forces in 1825. With a restraint of palette appropriate to the allegory, Greece Expiring on the Ruins of Missolonghi displays a woman in Greek costume with her breast bared, arms half-raised in an imploring gesture before the horrible scene: the suicide of the Greeks, who chose to kill themselves and destroy their city rather than surrender to the Turks. A hand is seen at the bottom, the body having been crushed by rubble. The painting serves as a monument to the people of Missolonghi and to the idea of freedom against tyrannical rule. This event interested Delacroix not only for his sympathies with the Greeks, but also because the poet Byron, whom Delacroix greatly admired, had died there.

Romanticism

A trip to England in 1825 included visits to Thomas Lawrence and Richard Parkes Bonington, and the colour and handling of English painting provided impetus for his only full-length portrait, the elegant Portrait of Louis-Auguste Schwiter (1826–30). At roughly the same time, Delacroix was creating romantic works of numerous themes, many of which would continue to interest him for over thirty years. By 1825, he was producing lithographs illustrating Shakespeare, and soon thereafter lithographs and paintings from Goethe's Faust. Paintings such as The Combat of the Giaour and Hassan (1826), and Woman with Parrot (1827), introduced subjects of violence and sensuality which would prove to be recurrent.

These various romantic strands came together in The Death of Sardanapalus (1827–28). Delacroix's painting of the death of the Assyrian king Sardanapalus shows an emotionally stirring scene alive with beautiful colours, exotic costumes and tragic events. The Death of Sardanapalus depicts the besieged king watching impassively as guards carry out his orders to kill his servants, concubines and animals. The literary source is a play by Byron, although the play does not specifically mention any massacre of concubines.

Sardanapalus' attitude of calm detachment is a familiar pose in Romantic imagery in this period in Europe. The painting, which was not exhibited again for many years afterward, has been regarded by some critics[who?] as a gruesome fantasy involving death and lust. Especially shocking is the struggle of a nude woman whose throat is about to be cut, a scene placed prominently in the foreground for maximum impact. However, the sensuous beauty and exotic colours of the composition make the picture appear pleasing and shocking at the same time.[original research?]

A variety of Romantic interests were again synthesized in The Murder of the Bishop of Liège (1829). It also borrowed from a literary source, this time Scott, and depicts a scene from the Middle Ages, that of the murder of Louis de Bourbon, Bishop of Liège amidst an orgy sponsored by his captor, William de la Marck. Set in an immense vaulted interior which Delacroix based on sketches of the Palais de Justice in Rouen and Westminster Hall, the drama plays out in chiaroscuro, organized around a brilliantly lit stretch of tablecloth. In 1855, a critic described the painting's vibrant handling as "Less finished than a painting, more finished than a sketch, The Murder of the Bishop of Liège was left by the painter at that supreme moment when one more stroke of the brush would have ruined everything".



Liberty Leading the People

Main article: Liberty Leading the People

Delacroix's most influential work came in 1830 with the painting Liberty Leading the People, which for choice of subject and technique highlights the differences between the romantic approach and the neoclassical style. Less obviously, it also differs from the Romanticism of Géricault, as exemplified by The Raft of the Medusa.

Delacroix felt his composition more vividly as a whole, thought of his figures and crowds as types, and dominated them by the symbolic figure of Republican Liberty which is one of his finest plastic inventions...

Probably Delacroix's best-known painting, Liberty Leading the People is an unforgettable image of Parisians, having taken up arms, marching forward under the banner of the tricolour representing liberty, equality, and fraternity. Although Delacroix was inspired by contemporary events to invoke this romantic image of the spirit of liberty, he seems to be trying to convey the will and character of the people, rather than glorifying the actual event, the 1830 revolution against Charles X, which did little other than bring a different king, Louis-Philippe, to power. The warriors lying dead in the foreground offer poignant counterpoint to the symbolic female figure, who is illuminated triumphantly against a background of smoke.

Although the French government bought the painting, by 1832 officials deemed its glorification of liberty too inflammatory and removed it from public view. Nonetheless, Delacroix still received many government commissions for murals and ceiling paintings.

Following the Revolution of 1848 that saw the end of the reign of King Louis Philippe, Delacroix' painting, Liberty Leading the People, was finally put on display by the newly elected President, Louis Napoleon (Napoleon III). It is exhibited in the Louvre museum in Paris; although from December 2012 until 2014 it was on exhibit at Louvre-Lens in Lens, Pas-de-Calais.

The boy holding a pistol aloft on the right is sometimes thought to be an inspiration for the Gavroche character in Victor Hugo's 1862 novel, Les Misérables.

Travel to North Africa

In 1832, Delacroix traveled to Spain and North Africa in company with the diplomat Charles-Edgar de Mornay, as part of a diplomatic mission to Morocco shortly after the French conquered Algeria. He went not primarily to study art, but to escape from the civilization of Paris, in hopes of seeing a more "primitive" culture. He eventually produced over 100 paintings and drawings of scenes from or based on the life of the people of North Africa, and added a new and personal chapter to the interest in Orientalism. Delacroix was entranced by the people and their clothes, and the trip would inform the subject matter of a great many of his future paintings. He believed that the North Africans, in their attire and their attitudes, provided a visual equivalent to the people of Classical Rome and Greece:

The Greeks and Romans are here at my door, in the Arabs who wrap themselves in a white blanket and look like Cato or Brutus...

He managed to sketch some women secretly in Algiers, as in the painting Women of Algiers in their Apartment (1834), but generally he encountered difficulty in finding Muslim women to pose for him because of Muslim rules requiring that women be covered.[citation needed] Less problematic was the painting of Jewish women in North Africa, as subjects for the Jewish Wedding in Morocco (1837–1841).

While in Tangier, Delacroix made many sketches of the people and the city, subjects to which he would return until the end of his life. Animals—the embodiment of romantic passion—were incorporated into paintings such as Arab Horses Fighting in a Stable (1860), The Lion Hunt (of which there exist many versions, painted between 1856 and 1861), and Arab Saddling his Horse (1855).

Musical Inspirations

Delacroix drew inspiration from many sources over his career, such as the literary works of William Shakespeare and Lord Byron, and the artistry of Michelangelo. But, throughout his life, he felt a constant need for music, saying in 1855 that "nothing can be compared with the emotion caused by music; that it expresses incomparable shades of feeling." He also said, while working at Saint-Sulpice, that music put him in a state of "exaltation" that inspired his painting. It was often from music, whether the most melancholy renditions of Chopin or the "pastoral" works of Beethoven, that Delacroix was able to draw the most emotion and inspiration. At one point during his life, Delacroix befriended and made portraits of the composer Chopin; in his journal, Delacroix praised him frequently.

Murals and later life

In 1838 Delacroix exhibited Medea about to Kill Her Children, which created a sensation at the Salon. His first large-scale treatment of a scene from Greek mythology, the painting depicts Medea clutching her children, dagger drawn to slay them in vengeance for her abandonment by Jason. The three nude figures form an animated pyramid, bathed in a raking light that penetrates the grotto in which Medea has hidden. Though the painting was quickly purchased by the State, Delacroix was disappointed when it was sent to the Lille Musée des Beaux-Arts; he had intended for it to hang at the Luxembourg, where it would have joined The Barque of Dante and Scenes from the Massacres of Chios.

From 1833 on Delacroix received numerous commissions to decorate public buildings in Paris. In that year he began work for the Salon du Roi in the Chambre des Députés, Palais Bourbon, which was not completed until 1837, and began a lifelong friendship with the female artist Marie-Élisabeth Blavot-Boulanger. For the next ten years he painted in both the Library at the Palais Bourbon and the Library at the Palais du Luxembourg. In 1843 he decorated the Church of St. Denis du Saint Sacrement with a large Pietà, and from 1848 to 1850 he painted the ceiling in the Galerie d'Apollon of the Louvre. From 1857 to 1861 he worked on frescoes for the Chapelle des Anges at the Church of Saint-Sulpice in Paris. They included "Jacob Wrestling with the Angel", "Saint Michael Slaying the Dragon", and "The Expulsion of Heliodorus from the Temple". These commissions offered him the opportunity to compose on a large scale in an architectural setting, much as had those masters he admired, Paolo Veronese, Tintoretto, and Rubens.

The work was fatiguing, and during these years he suffered from an increasingly fragile constitution. In addition to his home in Paris, from 1844 he also lived at a small cottage in Champrosay, where he found respite in the countryside. From 1834 until his death, he was faithfully cared for by his housekeeper, Jeanne-Marie le Guillou, who zealously guarded his privacy, and whose devotion prolonged his life and his ability to continue working in his later years.

In 1862 Delacroix participated in the creation of the Société Nationale des Beaux-Arts. His friend, the writer Théophile Gautier, became chairman, with the painter Aimé Millet acting as deputy chairman. In addition to Delacroix, the committee was composed of the painters Carrier-Belleuse and Puvis de Chavannes. Among the exhibitors were Léon Bonnat, Jean-Baptiste Carpeaux, Charles-François Daubigny, Gustave Doré, and Édouard Manet.[citation needed] Just after his death in 1863, the society organized a retrospective exhibition of 248 paintings and lithographs by Delacroix—and ceased to mount any further exhibitions.[citation needed]

The winter of 1862–63 was extremely rough for Delacroix; he was suffering from a bad throat infection that seemed to get worse over the course of the season. On a trip to Champrosay, he met a friend on the train and became exhausted after having a conversation. On 1 June he returned to Paris to see his doctor. Two weeks later, on 16 June, he was getting better and returned to his house in the country. But by 15 July he was sick enough to again see his doctor, who said he could do nothing more for him. By then, the only food he could eat was fruit. Delacroix realized the seriousness of his condition and wrote his will, leaving a gift for each of his friends. For his trusted housekeeper, Jenny Le Guillou, he left enough money for her to live on while ordering everything in his studio to be sold. He also inserted a clause forbidding any representation of his features, "whether by a death-mask or by drawing or by photography. I forbid it, expressly." On 13 August, Delacroix died, with Jenny by his side. He was buried in Père Lachaise Cemetery in Paris.

His house, formerly situated along the canal of the Marne, is now near the exit of the motorway leading from Paris to central Germany.

Legacy

At the sale of his work in 1864, 9140 works were attributed to Delacroix, including 853 paintings, 1525 pastels and water colours, 6629 drawings, 109 lithographs, and over 60 sketch books. The number and quality of the drawings, whether done for constructive purposes or to capture a spontaneous movement, underscored his explanation, "Colour always occupies me, but drawing preoccupies me." Delacroix produced several fine self-portraits, and a number of memorable portraits which seem to have been done purely for pleasure, among which were the portrait of fellow artist Baron Schwiter, an inspired small oil of the violinist Niccolò Paganini, and Portrait of Frédéric Chopin and George Sand, a double portrait of his friends, the composer Frédéric Chopin and writer George Sand; the painting was cut after his death, but the individual portraits survive.

On occasion Delacroix painted pure landscapes (The Sea at Dieppe, 1852) and still lifes (Still Life with Lobsters, 1826–27), both of which feature the virtuoso execution of his figure-based works.He is also well known for his Journal, in which he gave eloquent expression to his thoughts on art and contemporary life.

A generation of impressionists was inspired by Delacroix's work. Renoir and Manet made copies of his paintings, and Degas purchased the portrait of Baron Schwiter for his private collection. His painting at the church of Saint-Sulpice has been called the "finest mural painting of his time".

Contemporary Chinese artist Yue Minjun has created his own interpretation of Delacroix's painting Massacre of Chios, which retains the same name. Yue Minjun's painting was itself sold at Sotheby's for nearly $4.1 million in 2007.

His pencil drawing Moorish Conversation on a Terrace was discovered as part of the Munich Art Hoard.

(来源:维基百科)

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