As great an engraver as he was a painter, Goya also made use of the “black and white” of engravings with remarkable expressiveness; the medium seemed to him the means best suited to disseminating his work and ideas. The famous series of Caprices (Los Caprichos), composed of 80 images, was published in 1799 but quickly censured.
Los Caprichos
From the judges and lawyers to the ecclesiastics, from the child to the old man, from the poor woman to the beautiful snob – metaphoric scenes, moral (...)
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oeuvre : un jour une oeuvre
Articles
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“Quien mas rendido?”
10 November 2012, by Anne-Myrtille.Renoux@louvre.fr -
Louis XI and Isabelle de Croye, scene from Quentin Durward
30 November 2012, by Anne-Myrtille.Renoux@louvre.frForgotten early Romantic painter and illustrator Gillot Saint-Evre is represented in the Louvre by a rather large painting acquired at the 1833 Salon, Joan of Arc, in the presence of Charles VII, answers questions from churchmen about her visions and revelations.
The artist draws on the same medieval vein in this large lithograph inspired by Walter Scott’s popular novel Quentin Durward, about a Scottish archer in the service of the French king Louis XI, who falls in love with Isabelle de (...) -
Portrait of Joséphine de Forget, born Lavalette
18 December 2012, by Anne-Myrtille.Renoux@louvre.frJoséphine was 13 years old when, on December 20, 1815, she took part in helping her father, Count Antoine de Lavalette, escape from imprisonment and a looming death sentence following a failed conspiracy to overthrow Louis XVIII upon hearing of Napoleon’s return during the Hundred Days. Her mother, Emilie de Beauharnais, niece of Empress Joséphine, was incarcerated subsequent to the escape in which she had also taken part, and lost her mind.
This moving portrait of his daughter was drawn by (...) -
Letter from George Sand to Eugène Delacroix,
17 December 2012, by Anne-Myrtille.Renoux@louvre.frDelacroix met George Sand in November 1834, the day after her relationship with Alfred de Musset ended, and painted a portrait of her in men’s clothes, her face marked by the ordeal. But it was primarily the novelist’s romantic involvement with Chopin, begun in 1838, that brought the two closer. Delacroix appreciated the musician, whom he called his little Chopin, and was very fond of his music.
Delacroix met George Sand in November 1834, the day after her relationship with Alfred de Musset (...) -
Caricature of Mademoiselle George
2 December 2012, by Anne-Myrtille.Renoux@louvre.frIn the early 1820s, Delacroix made a dozen lithographed caricatures, most of which were published in the newspaper Le Miroir. Probably motivated by the young painter’s financial needs at a time when he was in difficulty, they also reveal the liberal and anti-conformist opinions of the artist, who didn’t hesitate to denounce censorship and antiquated Academicians, and who advocated for cultural openness through the performance of opera and the revitalization of the theater.
This lithograph (...) -
Study of Babouche Slippers
9 December 2012, by Anne-Myrtille.Renoux@louvre.frA masterpiece of concision, these two grey babouche slippers with yellow insoles and unevenly drawn red edging seem very sober compared to the brightly colored ones with disheveled tassels in the foreground of The Women of Algiers (Musée du Louvre, 1834).
A few lines written on the reverse of this pastel, lot 78 from the sale of Alfred Robaut’s collection on December 18th, 1907, cite the painter Edgar Degas, who had failed to acquire this little study: I went up to 120 francs for Delacroix’s (...) -
Birds by a Pond
27 November 2012, by Anne-Myrtille.Renoux@louvre.frLike his three older brothers Theodore (1781-1851), Thales (1793-1837), and Copley (1787-1855) – all watercolorists, engravers, and drawing teachers –, Newton was drawn to Paris around 1821 by the publisher J.-F. d’Ostervald to realize the aquatints and watercolors of Picturesque Travels in Sicily (1821-1826) and Trips to the Coasts and Ports of Normandy (1823-1825): the prints of these works required that they be sketched in watercolor, a technique the brothers had mastered, reproducing the (...)
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Skiff and Ducks on the Waterfront
19 December 2012, by Anne-Myrtille.Renoux@louvre.frLike his three brothers Theodore, Thales, and Copley, Newton, the youngest of the four Fieldings, was drawn to Paris around 1821 by the publisher J.-F. d’Ostervald to realize the aquatints and watercolors of Picturesque Travels in Sicily (1821-1826) and Trips to the Coasts and Ports of Normandy (1823-1825): the prints of these works required that they be sketched in watercolor, a technique the brothers had mastered, reproducing the effects of oil paintings through the use of gouache and gum (...)
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Portrait of a Namesake of Eugène Delacroix
7 December 2012, by Anne-Myrtille.Renoux@louvre.frAlthough Auguste Préault was characterized as the “Delacroix of sculpture” in his lifetime, it wasn’t until 1864, after the painter’s death, that he realized a small medallion in profile of the artist who had supported him several times over the course of his difficult career. André Joubin, a great specialist of Delacroix’s writings, was enthused to acquire an old print of the medallion shown here, thinking that it represented the painter. He later established that this medallion, dated 1836, (...)
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Portrait of Count Charles de Mornay
18 May 2012, by Anne-Myrtille.Renoux@louvre.frA student in Guérin’s studio, Dedreux-Dorcy was a painter and friend of Géricault, upon whose death he acquired the Raft of the Medusa (Musée du Louvre) with the intention of transferring it to the State, as Delacroix mentions in his Autobiography (Hannoosh, Journal, Corti, 2009, p.1741). Dedreux-Dorcy made his debut at the 1810 Salon and, beginning in 1831, he specialized in portraiture, painting a portrait of Delacroix and, notably, one of Mornay.
Charles-Henri-Edgar, Count de Mornay (...)