Romantic Quote Biography
Source (Google.com.pk)In the midst of the activities that distract me (shooting partridges in the woods, fh), when I remember a few lines of poetry, when I recall some sublime painting, my spirit is roused to indignation and spurns the vain sustenance of the common herd. And in the same way, when I think of those I love, my soul clings eagerly to the elusive trace of these cherished ideas. Yes, I am sure of it, great friendship is like great genius, and the remembrance of a great and enduring friendship is like that of great works of genius. … …What a life would be that of two great poets who loved each other as we do! (his friend J. B. Pierret, ed.) That would be too great for human kind.
* Eugene Delacroix, source of artist quote on daily life in the woods as young Romantic artist, in: a letter to his friend J. B. Pierret 18 September 1818, from the Forest of Boixe; as quoted in ”Eugene Delacroix – selected letters 1813 – 1863”, ed. and translation Jean Stewart, art Works MFA publications, Museum of Fine Art Boston, 2001, p. 41 (Delacroix became later the leading artist of French Romanticism after th death of Gericault; he became famous for his colourful and dynamic romantic oil paintings and large public murals; more biography and history facts is placed below)
- For a man who is sensitive to nature, happiness consists in expressing nature. How infinitely happy, then, is the man who reflects nature like a mirror without being aware of it, who does the thing for love of it and not from any pretensions to take first place. This noble unselfconsciousness is what we find in all truly great men, in the founders of the arts. I picture the great Poussin, in his retreat, delighting in the study of the human heart… …I picture Raphael in the arms of his mistress, turning from La Fornarina to paint his Saint Cecilia… …I am only too well aware that I am far not only from their divine spirit, but even from their modest simplicity…
* source of the biographical artist quote: a letter to his friend J. B. Pierret 23 October 1818, Forest of Boixe; as quoted in ”Eugene Delacroix – selected letters 1813 – 1863”, ed. and translation Jean Stewart, art Works MFA publications, Museum of Fine Art Boston, 2001, p. 43
- …The movement and the rustle of the branches (in the forest, while losing his attention for chasing, fh) delights me. The clouds float past and I lift my head to follow their flight, or think about some madrigal, when a slight sound, which has been going on for a little while, rouses me slowly from my dream.; at least I turn my head and see, to my grief, a little white scut just disappearing into the thicket…
* Eugene Delacroix, a quote, describing his sensitive impressions of Nature: a letter to his friend Achille Peron, 16 September 1819, Paris; as quoted in ”Eugene Delacroix – selected letters 1813 – 1863”, ed. and translation Jean Stewart, art Works MFA publications, Museum of Fine Art Boston, 2001, p. 51
- …I must try to live austerely, as Plato did… …I need to live a more solitary life… …Valuable ideas beyond number miscarry because I have no continuity in my thoughts… …The things which we experience for ourselves when we are on our own are stronger by far, and fresher… (his painting ‘Massacre’ was half done when he wrote these notes, fh)
* source of the autobiographical quote: his Journal, March 1824; as quoted in ”Eugene Delacroix – selected letters 1813 – 1863”, ed. and translation Jean Stewart, art Works MFA publications, Museum of Fine Art Boston, 2001, p. 9
- I have seen here (in London, fh) a play on Faust, the most diabolic thing imaginable. The Mephistopheles is a masterpiece of caricature and intelligence. It is Goethe’s ‘Faust’, but adapted; the principle features are preserved. They have made it into an opera mixed with comedy and with everything that is most sombre. The scene in the church is given with the priest’s chanting and the organ in the distance. Impossible to carry an effect further, in the theatre..
* Eugene Delacroix, artist quote on the theatre-play Faust, he visited in London: a letter (written in England) to J. B. Pierret, 18 June 1825; as quoted in ”Letters of the great artists – from Blake to Pollock -”, Richard Friedenthal, Thames and Hudson, London, 1963, p. 67
- Well! A general invasion: Hamlet rears his hideous head, Othello is preparing his dagger, that essentially murderous weapon, subversive of all good theatrical government. What more, who knows… …King Lear is to tear his eyes before a French audience. It should be a point of dignity for the Academy to declare that all imports of this kind are incompatible with public morals. Farewell good taste! In any case, equip yourself with a stout coat of mail under your evening dress. Beware of the Classicist’s daggers, or rather, sacrifice yourself valiantly for our barbarian pleasure..
* Delacroix, source of the quote on Hamlet of Shakespeare, n a letter to Victor Hugo, 1828; as quoted in ”Letters of the great artists – from Blake to Pollock -”, Richard Friedenthal, Thames and Hudson, London, 1963, p. 67
- ..I am not doing very much as yet. I am put out by this manner of the Salon. They will end by persuading me that I have produced a veritable fiasco. But I am not yet entirely convinced of it. Some say it is a complete downfall; that the “Death of Sardanaplus” (Delacroix’s painting, painted after the drama, written by Byron, fh) is that of the Romantics, inasmuch as Romantics do exist; others merely say that I am an ‘inganno’ (a fraud)… …So I say they are all imbeciles, that the picture has its qualities and its defects, and that while there are some things I could wish to be better, there are not a few others that I think myself fortunate to have created, and which I wish them.
* source of his artist quote on the painting Death of Sardanaplus and its Romantic character, from: a letter to his friend Charles Soulier, 11 March 1828; as quoted in ”Letters of the great artists – from Blake to Pollock -”, Richard Friedenthal, Thames and Hudson, London, 1963, pp. 67-68
- I have started work on a modern subject, a scene on the barricades… …I may not have fought for my country but at least I shall have painted for her… (remark on his famous painting ‘Liberty’, fh)
* Eugene Delacroix, important quote on the making of his famous painting ‘Liberty’s in 1830, from: an unpublished letter to his brother, 18 October 1830’ ( quoted by M. Sérullaz ); as quoted in ”Eugene Delacroix – selected letters 1813 – 1863”, ed. and translation Jean Stewart, art Works MFA publications, Museum of Fine Art Boston, 2001, p. 13
- …that famous idea of ‘beauty’, which is, as everybody says, the goal of the arts. If it is their only goal, what becomes of the men like Rubens, Rembrandt, and all the northern natures generally, who prefer other qualities? Demand purity, In a word beauty… .In general the men of the north tend less in that direction. The Italian prefers ornament. (1847, fh)
* source of Delacroix’s quote on ‘beauty in art’: “Artists on Art – from the 14th – 20th centuries”, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 229
- I see in painters prose writers and poets. Rhyme, measure, and the turning of verses, which is indispensable and which gives them so much vigor, are analogous to the hidden symmetry, to the equilibrium at once wise and inspired, which governs the meeting or separation of lines and spaces, the echoes of color, etc… …but the beauty of verse does not consist of exactitude in obeying rules… …It resides in a thousand secret harmonies and conventions which make up the power of poetry and which go straight to the imagination; in just the same way the happy choice of forms and the right understanding of their relationship act on the imagination in the art of painting. (19 September 1847, fh)
* Eugene Delacroix, a quote on the distinction in painting between prose and poetry, from: his Journal, as quoted in “Artists on Art – from the 14th – 20th centuries”, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 229
- Criticism, like so many other things, keeps to what has been said before and does not get out of the rut. This business of the ‘Beautiful’ some see it in curved lines, some in straight lines, but all persist in seeing it as a matter of line. I am now looking out of my window and I can see the most lovely countryside; lines just do not come into my head: the lark is singing, the river sparkles with a thousand diamonds, the leaves are whispering; where, I should like to know, are the lines that produce delicious impressions like these? They refuse to see proportion or harmony except between two lines: all else they regard as chaos, and the dividers alone are judge.
* Delacroix’s quote on the use of line in painting which he rejects as a too sharp dividing force in the picture (in contrast to the Frneck classical painter Ingres!), in: a letter to Léon Peissse, 15 July 1949; as quoted in ”Letters of the great artists – from Blake to Pollock -”, Richard Friedenthal, Thames and Hudson, London, 1963, p. 68
- If you make the light dominate too much, the breadth of the planes leads to the absence of half tints, and consequently to discoloration; the opposite abuse is harmful above all in big compositions destined to be seen from a distance, like ceilings, etc. In the latter form of painting, Paul Veronese goes beyond Rubens through the simplicity of his local color and his breadth in handling the light… …Veronese had greatly to strengthen his local color in order that it should not appear discolored when immunized by the very broad light he threw on it. (1850, fh)
* his artist quote on the use of local colours in painting by Veronese, in: his Journal, as quoted in “Artists on Art – from the 14th – 20th centuries”, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, pp. 230 – 231
- Proportion applies to sculpture as to painting; perspective determines the contour; chiaroscuro gives relief through the disposition of lights and shadows in their relationship with the background; color gives the appearance of life… …The colorists, the men who unite all the phases of painting, have to establish, at once and from the beginning, everything that is proper and essential to their art. They have to mass things in with color, even as the sculptor does with clay, marble or stone; their sketch, like that of the sculptor, must also render proportion, perspective effect, and color. (15 April 1851, fh)
* Eugene Delacroix, source of his artist quote on the use of color to enable to form masses in the painting, from: his Journal, as quoted in “Artists on Art – from the 14th – 20th centuries”, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, pp. 230 – 231
- …One should always be desiring or hoping for something. When one can hope for that which one desires, one enjoys the greatest happiness of which our thinking apparatus is capable. To obtain what one has been desiring is the first step to the depths of sadness and even pain, from which one can never emerge. The sea still enchants me; I linger for three or four hours at a time on the jetty or at the edge of the cliffs. Impossible to tear oneself away. If I could lead such a life for a certain time, coupling it with some interesting occupation, I should enjoy excellent health.
* Eugene Delacroix’s quote on his stay at the coast at Dieppe, in: a letter to Madame de Forget, Dieppe, 13 September 1852; as quoted in ”Letters of the great artists – from Blake to Pollock -”, Richard Friedenthal, Thames and Hudson, London, 1963, p. 68
- To be like other people is the real condition of happiness. Sea air and diversions are producing this miraculous effect upon me. What you need is just the contrary. You are dying of boredom from what most mortals regard as bliss – having nothing to do. You need the treatment opposite to mine; I am not joking in the very least: one has to be compelled to some task, driven to it: anyone who is not a drunken brute must achieve boredom at all costs unless he can discover the secret of a taste for amusements… …These reflections… …are not likely to comfort you, but they will change your frame of mind for a few minutes. I shall probably be back in Paris on Thursday…
* artist quote from the coast at Dieppe, in: a letter to Madame de Forget, Dieppe, 13 September 1852; as quoted in ”Letters of the great artists – from Blake to Pollock -”, Richard Friedenthal, Thames and Hudson, London, 1963, pp. 73-74
- The landscape (in the painting ‘The Bathers’ 1853, by Courbet, fh) is of an extraordinary vigor, but Courbet has done no more than enlarge a study exhibited there, near his large canvas; the conclusion is that the figures (the two bathers, fh) were put in afterwards and without connection with their surroundings. This brings up the question of harmony between the accessories and the principal object, a thing lacking in the majority of great painters… (15 April 1853, fh)
* Eugene Delacroix comments the painting ‘The Bathers’ of the French painter Courbet, in: his Journal, as quoted in “Artists on Art – from the 14th – 20th centuries”, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 231
- How do things stand, now, if the subject contains a large element of pathos?… …Consider such an interesting subject as the scene taking place around the bed of a dying woman, for example; seize and render that ensemble by photography, if that is possible (was a very recent invention those days, fh): it will be falsified in a thousand ways. The reason is that, according to the degree of your imagination, the subject will appear to you more or less beautiful, you will be more or less the poet in that scene in which you are an actor; you see only what is interesting, whereas the instrument puts in everything (1853, fh)
* Delacroix’s quote in which he relates painting to theatre for the visitor / spectator, (he loved theatre and visited it frequently): “Artists on Art – from the 14th – 20th centuries”, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 233
- The original idea, the sketch, which is so to speak the egg or embryo of the idea, is usually far from being complete; it contains everything, which is simply a mixing together of all parts. Just the thing that makes of this sketch the essential expression of the idea is not the suppression of details, but their complete subordination to the big lines, which are, before all else, to create the impression. The greatest difficulty therefore is that of returning in the picture to that effacing of the details which, however, make up the composition, the web and the woof of the picture. (1854, fh)
* Eugene Delacroix, quote who compares the sketch with the ultimate composition in the painting and its difficulties, in: “Artists on Art – from the 14th – 20th centuries”, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, pp. 234 – 235
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- He (Michelangelo, fh) did not know a single one of the feelings of man, not one of his passions. When he was making an arm or a leg, it seems as if he were thinking only of that arm or leg and was not giving the slightest consideration to the way it relates with the action of the figure to which it belongs, much less to the action of the picture as a whole… …Therein lies his great merit; he brings a sense of the grand and the terrible into even an isolated limb. (1854, fh)
* source of his artist quote on the Italian Renaissance artist Michelangelo, from: “Artists on Art – from the 14th – 20th centuries”, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 235
- After leaving (the International Exposition in Paris, with a lot of new machines, fh), I went to see Courbet’s exhibition; he has reduced the admission to ten cents. I stay there alone for nearly an hour and discover that the picture (‘L’atélier’ of his which they refused (for exposing on the Salon in Paris probably, ed.) is a masterpiece; I simply could not tear myself away from the sight of it. (3 August, 1855, fh)
* Delacroix, his quote on the very large painting L’atélier’ (The Painter’s Studio), painted by Courbet in 1855, from: his Journal, as quoted in “Artists on Art – from the 14th – 20th centuries”, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 236
- I did not come to know part II of ‘Faust’ until long after I made my illustrations, and even then only very superficially. It struck me as an ill-digested work, of little interest from the literary standpoint, but among those most calculated to inspire a painter owing to the mixture of characters and styles it contains… …You asked what gave me the first idea of the Faust lithographs. I remember that about 1821 I saw the designs made by Retch ( is: Retzsch, ed.) and found them rather striking; but it was above all the performance of a dramatic opera on Faust that I saw in London in 1825 which stirred me to do something on the subject. The actor… …was a perfect Mephistopheles; he was fat, but that in no way diminished his nimbleness and his Satanic character.
* Eugene Delacroix tells in this art quote about the start of his Faust lithographs, from: a letter to Philippe Burty, 1 March 1862; as quoted in ”Letters of the great artists – from Blake to Pollock -”, Richard Friedenthal, Thames and Hudson, London, 1963, p. 76
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Delacroix’s artist quotes??
editor Fons Heijnsbroek
biography and history facts of Eugene Delacroix; Romantic French artist
Eugene Delacroix was a typical painter of French Romanticism; he was friend and spiritual heir of Theodore Gericault and became the leader of French Romanticism art movement after 1824, when Gericault died. In contrast to Neo-classical perfectionism of his chief rival Ingres, Delacroix was inspired by the art of Rubens and Venetian Renaissance: Veronese and Titian with their strong emphasis on color and movement. Also the English Romantic landscape painters John Constable and Bonnington which he met several times, influenced the young artist Delacroix, because they showed him freedom by loose brushwork technique. Many artist quotes here are taken from Delacroix’s diary he wrote a lot during his life.
Dramatic and romantic content characterized the central themes of his art in paintings as well as in his graphic art. To find inspiration for his urge to express the exotic element, Delacroix travelled to Africa (Tunis). The romantic English poet Byron – with whom Delacroix shared a strong identification (the ‘forces of the sublime’), in nature, inspired his art.
Characteristic in Delacroix’s painting style are the use of expressive and dynamic brush strokes and his characteristic use of strong colours, the result of his serious study of the optical effects of colours, which he learned to combine in a new, expressive and dynamic way. In the words of the poet Baudelaire, ‘Delacroix was passionately in love with passion, but coldly determined to express passion as clearly as possible.’
During his life Delacroix found broad recognition, despite the continuing struggle he had with the classical painter Ingres, in full view of the public in Paris. From 1833 Delacroix received numerous commissions to decorate public buildings in Paris with large murals, such as the Salon du Roi in Palais Bourbon, the Library at the Palais Bourbon and the Library at the Palais du Luxembourg. From 1848 to 1850 he painted the ceiling in the Galerie d’Apollon in the Louvre.
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