Download pdf - Romanticism: Ingres and Delacroix

Romanticism in FranceIngres and Delacroix

The leading figures in 19th century French art were Jean Auguste Dominique Ingres

and Eugene Delacroix

Each represented the rival schools of Neoclassicism and Romanticism, as seen in

this 19th century caricature depicting the two artists jousting in front of the Institut de

France

Ingres: champion

of line

Delacroix:

champion of color

A pupil of Jacques Louis David, Ingres was the leading exponent of Neoclassicism,

and was renowned as the champion of crisp line and contour, as indicated by the

fine tipped pen that he wields as his weapon

Ingres: champion

of line

Delacroix was the leading representative of Romanticism, and was known for his

bravura use of color and painterly effects, indicated by the paint brush that he carries

as his weapon

Delacroix:

champion of color

The rivalry between these two giants of the 19th century Academy replayed the 17th

century academic debate between the Poussinistes (who favored drawing and

design) and the Rubenistes (who favored color)

Delacroix:

champion of colorIngres: champion

of line

Jean-Auguste-Dominique Ingres, Apotheosis of Homer, 1827

Louvre

This painting by Ingres was submitted to the Salon of 1827, and was a kind of

manifesto of Neoclassicism

http://www.louvre.fr/llv/oeuvres/detail_notice.jsp?CONTENT<>cnt_id=10134198673225735&CURRENT_LLV_NOTICE<>cnt_id=10134198673225735&FOLDER<>folder_id=9852723696500815&baseIndex=46&bmLocale=en


Louvre

Based on Raphael’s School of Athens, the painting depicts the Greek poet Homer

enthroned before a Greek Classical temple



Louvre

Allegorical figures representing his two great works, The Odyssey and The Iliad are

seated beneath his throne, symmetrically arranged like mirrored images of one

another



Louvre

The blind poet is crowned by a winged Nike, and he is surrounded by famous artists

and writers from history, who acknowledge his great achievement



Louvre

Amongst them are Phidias, Michelangelo, and Poussin

Phidias

Michelangelo

Poussin



Louvre

Symmetrical, ordered, and balanced, the picture is a tribute to the rational values of

the classical tradition


Jean Auguste Dominique Ingres, Self Portrait at Age 24, 1804; revised 1850

Musée Condé

Ingres’ chief rival in the 19th century French Academy was Eugene Delacroix, who

rejected the values of Neoclassicism (an entry in his diary reads: “I dislike

reasonable painting.”)

Eugene Delacroix, Self Portrait, 1837

Musée du Louvre, Paris


Musée Condé

While Ingres’ style is slick, polished, and reserved (his teacher Jacques Louis

David told his students: “never let your brushwork show”), Delacroix’s style is

loose, spontaneous, and impetuous, expressing an unrestrained passion that

contrasts with Ingres’ cool Neoclassical style




Musée Condé

While Ingres painted with precision and calculation, Delacroix painted with passion

and spontaneity



I paint with

my heart

I paint with

my head

Delacroix’s Death of Sardanapalus, painted in 1826, is a classic example of

Romanticism

The painting is based on a story recounted by an ancient Greek historian about an

Assyrian King whose city was under siege by an enemy army

Rather than suffer the humility of defeat, he orders his soldiers to slaughter his

horses and his concubines, before setting himself on fire

The scene is one of chaotic violence, as naked bodies and horses struggle to

escape their fate

The sadistic king reclines impassively on a massive bed, decorated at the corners

by carved elephant heads

His decadent taste for luxuries is evident in the splendor of his surroundings, and

the heavy jewelry worn by his concubines (in fact, the king himself wears rings on

every toe!)


Louvre

Unlike Ingres’ Apotheosis of Homer (which was exhibited at the same Salon)

Delacroix’s picture does not pay tribute to a noble hero


Instead, it depicts a scene of sadistic violence and passion, betraying a morbid

fascination with human depravity rather than noble virtue

The style is also dramatically different


Louvre

While Ingres’ work is balanced and restrained, with clear even lighting, cool colors,

and crisp outlines


Delacroix’s painting is chaotically arranged, with swirling bodies, and a strong

diagonal that rushes headlong into space

And in contrast to Ingres’ precisely rendered figures, Delacroix’s style is loose,

sketchy, and impetuous – as if painted quickly, and with passion

The colors, too, are rich, lush, and fiery, rather than cool and detached, providing a

visual equivalent to the dark passions of the theme

Delacroix’s use of color was influenced by Rubens, and by the Venetian masters of

the Renaissance, but it was also informed by new scientific theories about the

properties of color, as seen in this color wheel from a book that belonged to the

artist

The diagram shows primary and secondary colors, with their complimentary colors

at the other end of the axis

Color theory teaches us that complementary colors intensify one another – a red

against a green, or a blue against an orange, makes the colors pop with an

intensity they would not have against a different background

Delacroix used this understanding of color extensively in his paintings, as in this

detail where we see a green sash draped haphazardly across the king’s bed

The complimentary colors intensify one another, making the colors literally “pop,”

and adding to the overall drama of the picture the picture

Neoclassicism Romanticism

The contrast between these two works sums up the competing values of

Neoclassicism and Romanticism


Emphasis on reason and virtue Emphasis on feelings, emotion –

“human nature,” which is not always

virtuous or noble


Style: painted with the “head”Smooth finishBalanced, ordered, harmonious

Style: painted with the “heart”

Loose, sketchy brushstroke

Expressive color, dynamic

composition, dramatic lighting


Subject MatterHistoricalExemplars of virtue

Subject Matter

Themes from literature & the

imagination

Exotic people & places

Horrific events

I recommend that you watch this video on Delacroix’s use of color, from the

National Gallery of Art, London