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Journal articles on the topic 'Delacroix, Eugène'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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1

Merello, Ida. "Eugène Delacroix, Journal." Studi Francesi, no. 161 (LIV | II) (September 1, 2010): 395. http://dx.doi.org/10.4000/studifrancesi.6985.

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2

TAMBA, Sa ïd. "De l'orientalisme. Eugène Delacroix." L'Homme et la société 175, no. 1 (2010): 115. http://dx.doi.org/10.3917/lhs.175.0115.

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3

Kociubińska, Edyta. "Eugène Delacroix et ses violons d’Ingres." ACTA UNIVERSITATIS LODZIENSIS. FOLIA LITTERARIA ROMANICA, no. 13 (February 7, 2018): 45–54. http://dx.doi.org/10.18778/1505-9065.13.05.

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4

Bouffier, Jacques Olivier. "The Tours Sketchbook of Eugène Delacroix." Metropolitan Museum Journal 29 (January 1994): 135–50. http://dx.doi.org/10.2307/1512965.

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5

Galle, Helmut. "Resenha: Goethe, Fausto I, Trad. de J. Klabin Segall com notas de M. V. Mazzari." Pandaemonium Germanicum, no. 8 (December 19, 2004): 229. http://dx.doi.org/10.11606/1982-8837.pg.2004.68428.

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RESENHA:GOETHE, Johann Wolfgang von: Fausto. Uma tragédia. Primeira parte. Tradução do original alemão de Jenny KLABIN SEGALL. Apresentação, comentários e notas de Marcus Vinícius MAZZARI. Ilustrações de Eugène Delacroix. Edição bilíngüe. São Paulo: editora 34, 2004.

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6

Guaraldo, Laís. "A viagem de Delacroix ao Marrocos e seu método de trabalho." Tiraz 2 (December 8, 2005): 42. http://dx.doi.org/10.11606/issn.2594-5955.tiraz.2005.88643.

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Em 1832, Eugène Delacroix empreendeu uma viagem ao Marrocos, acompanhando uma comitiva diplomática francesa. Nesse artigo, vamos observar que, embora a viagem de Delacroix ao Marrocos seja comumente tratada como um exemplo da paixão dos artistas franceses pelo “exotismo” do Oriente, a experiência de sua viagem foi, na verdade, carregada de conflitos. A análise comparada entre os registros feitos pelo pintor em seus cadernos e as cartas escritas nos mesmos dias revela o desconforto dessa experiência de alteridade cultural, marcada pela hostilidade com que a delegação diplomática francesa foi re

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7

Savettieri, Chiara. "Delacroix contre Girodet: réflexions autour d’un poème méconnu." Storia della critica d'arte: annuario della S.I.S.C.A. 1 (2020): 207–21. http://dx.doi.org/10.48294/s2020.012.

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This article focuses on a somewhat neglected satirical poetic work by Eugène Delacroix, devoted to the painting Pygmalion and Galatea by Anne-Louis Girodet (first exhibited at the 1819 Salon). The text dates back to 1824, the year of both Géricault’s and Girodet’s deaths. After analysing the text and its context, the author explores a new interpretative hypothesis: the work could well be seen as a reaction Delacroix developed against anti-romantic neoclassical positions that, on the occasion of Girodet’s funeral, were fiercely expressed by Gros and Gérard.

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8

Traeger, Jörg. "L'épiphanie de la Liberté. La Révolution vue par Eugène Delacroix." Revue de l'Art 98, no. 1 (1992): 9–28. http://dx.doi.org/10.3406/rvart.1992.348016.

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9

GAL, NISSIM. "‘The Fall of God into Meaning’: Painting Time in Jacob Wrestling with the Angel." Theatre Research International 34, no. 2 (2009): 187–93. http://dx.doi.org/10.1017/s0307883309004544.

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The future as an event cannot be analysed solely through its simple relation to the known or recognized world, but through its unexpected dimensions: its being beyond history and the way it performs commandments and ethical obligations. Two visual interpretations of the biblical story of Jacob Wrestling with the Angel, by Eugène Delacroix and Paul Gauguin, are at the centre of my discussion. The main theoretical tool for discussing the issues of time and the future is the philosophical writing of Emmanuel Levinas.

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10

Stead, Evanghelia. "Il est interdit de regarder : Marguerite au sabbat par Eugène Delacroix." Diogène 257, no. 1 (2017): 111. http://dx.doi.org/10.3917/dio.257.0111.

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11

Potter, Polyxeni. "Eugène Delacroix (1798-1863). "Arab Horses Fighting in a Stable." 1860." Emerging Infectious Diseases 8, no. 8 (2002): 879. http://dx.doi.org/10.3201/eid0808.ac0808.

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12

Christen, Justine. "Balzac face à Delacroix : le défi de peindre « l’intérieur d’un harem »." Quêtes littéraires, no. 5 (December 30, 2015): 33–43. http://dx.doi.org/10.31743/ql.236.

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In spring 1834, when he started writing The Girl with the Golden Eyes, Honoré de Balzac was imbued with by Eugène Delacroix’s work and figure. Both shared an attraction towards the Orient which betrayed their tendency to romanticism. In 1834, the exhibition of the painting The women of Algiers in their Apartment encouraged a new impetus of the novelist’s oriental genius. From 1830, Balzac started to fulfill a dream: competing with Delacroix’s art by portraying the inside of a harem in the short story The Girl with the Golden Eyes, which he dedicated to the romantic painter. The hero, Henri de

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13

Vollmer, Ulrike. "I WILL NOT LET YOU GO UNLESS YOU TEACH ME THE TANGO: SALLY POTTER'S THE TANGO LESSON." Biblical Interpretation 11, no. 1 (2003): 98–112. http://dx.doi.org/10.1163/15685150360495598.

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This paper explores Sally Potter's film The Tango Lesson and the story of Jacob's fight with the angel that features in it. The Tango Lesson is not only about the tango and the relationship between the characters Sally and Pablo but also about their search for what it means to feel like a Jew. On this search, Sally and Pablo embody in a tango pose Jacob's fight with the angel as painted by Eugène Delacroix. This pose and the biblical story behind it act as a key to understanding the relationship between Sally and Pablo. In this paper, I show how Sally resembles Jacob and Pablo the angel of bot

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14

Cohen, Simon. "The Music Behind the Mask: Rossini’s Uncanny Salon." Nota Bene: Canadian Undergraduate Journal of Musicology 14, no. 1 (2021): 83–114. http://dx.doi.org/10.5206/notabene.v14i1.13399.

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Despite receiving scant attention from scholars and performers, Rossini’s Péchés de vieillesse (Sins of Old Age), written between 1857 and 1868 for his private salon, have a unique and expressive stylistic language. In these works, the composer gives musical voice to the uncanny discourses that emerged around the idea of his “creative death.” This paper establishes how Rossini’s return to composition functioned as a musical “exhumation,” with his compositional activities functioning as a site for broader discourses about disease, aging, and death in nineteenth-century France. Close readings of

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15

Yee, Jennifer. "Eugène Delacroix, Journey to the Maghreb and Andalusia, 1832: The Travel Notebooks and Other Writings. Translated by Michèle Hannoosh." French Studies 74, no. 2 (2020): 327. http://dx.doi.org/10.1093/fs/knaa005.

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Thomason, Allison Karmel. "From Sennacherib's bronzes to Taharqa's feet: Conceptions of the material world at Nineveh." Iraq 66 (2004): 151–62. http://dx.doi.org/10.1017/s0021088900001741.

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Edward Said argued that since the beginning of western civilization there has been a conception that the rulers of the East, the famed “Oriental despots”, were decadent, obsessed with luxury, and consumed by the collecting of objects (1978: 119, 203). The trope of the decadent Orient is deeply embedded in the western imagination. In the Louvre Museum in Paris sits a masterpiece of French Romantic painting, The Death of Sardanapalus, by Eugène Delacroix (Fig. 1). The painting depicts an Oriental despot, the mythical Ninevite king Sardanapalus, reclining with emotional detachment on a great bed

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17

Parakilas, James. "Disrupting the Genre: Unforeseen Personifications in Chopin." 19th-Century Music 35, no. 3 (2012): 165–81. http://dx.doi.org/10.1525/ncm.2012.35.3.165.

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Abstract What George Sand characterized as the prevalence of “the unforeseen” in Chopin's music can be understood as his programmatic predilection. Within works whose generic titles promise nothing programmatic, he regularly introduces disruptions that announce a previously unsuspected persona in whose mind the music continues to unfold even as that persona brings the premises of the genre under scrutiny. In the Waltz in A♭, op. 42, for instance, a momentary interruption of the waltz beat, like the terminal interruption of the nocturne texture in the Nocturne in B, op. 32, no. 1, produces an e

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18

Gammelgaard, Lasse Raaby. "Torquato Tasso på (kryds og) tværs." K&K - Kultur og Klasse 47, no. 127 (2019): 131–52. http://dx.doi.org/10.7146/kok.v47i127.114747.

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The article contributes to research into the topos of furor poeticus or poetic madness and its prominence during the romantic period. In particular, it compares how the life story of the mad Italian poet from the Renaissance, Torquato Tasso, was represented in fictionalized versions across media and art forms. Romantic versions of Tasso’s life in drama (Wolfgang Goethe and B. S. Ingemann), poetry (Lord Byron), painting (Eugène Delacroix) and instrumental music (Franz Liszt) are analyzed with the aim of highlighting which aspects of Tasso’s life are portrayed, how the affordances of the medium

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19

Rodríguez, Oswaldo. "La evidencia científica, el saber acreditado y la narrativa académica de la pandemia." Innovare: Revista de ciencia y tecnología 9, no. 3 (2020): 166–68. http://dx.doi.org/10.5377/innovare.v9i3.10652.

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La segunda edición del Congreso Nacional de Ciencia y Tecnología (CONACIETI) organizado por la Universidad Tecnológica Centroamericana (UNITEC), fue celebrado desde la virtualidad el pasado 22 y 23 de octubre. Se contó con la presencia del reconocido científico hondureño-británico Doctor Sir Salvador Moncada como conferencista internacional en la inauguración de este importante evento académico-científico. Dicho evento sirvió de vitrina para la presentación y foro de discusión en torno los trabajos de investigación en las distintas áreas temáticas provenientes de la comunidad científica hondur

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20

Béchard-Léauté, Anne. "Lee Johnson, The Paintings of Eugène Delacroix, a Critical catalogue, Fourth Supplement and Reprint of Third Supplement, Oxford & New York, Oxford University Press, 2002, 354 p. Beth S. Wright (ed.), The Cambridge Companion to Delacroix, Cambridge &a." Revue d'histoire du XIXe siècle, no. 26-27 (December 1, 2003): 414–20. http://dx.doi.org/10.4000/rh19.780.

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21

Василишина Наталія Анатоліївна. "ЛІТЕРАТУРНІ СЮЖЕТИ В ТВОРАХ Е. ДЕЛАКРУА – “ЗАГИБЕЛЬ КОРАБЛЯ ДОН-ЖУАНА” ТА “ПІСЛЯ КОРАБЕЛЬНОЇ АВАРІЇ”". Science Review, № 5(22) (30 червня 2019): 33–42. http://dx.doi.org/10.31435/rsglobal_sr/30062019/6546.

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In this article, we have studied problems associated with features of the painting development in the Romantic era. We have highlighted questions on the interrelationship between literature and painting and considered new trends in the development of the French painting in the first half of the 19th century. Artists of this era, in particular E. Delacroix, searched for new subjects actively by finding interesting themes in works of the world literature. E. Delacroix was inspired by works of Dante, L. Ariosto, T. Tasso, W. Shakespeare, J. Goethe, G. Byron, F. R. de Chateaubriand, W. Scott etc.

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22

Vandаlovskyi, V. "Artistic and technical features of the lithographic manner mixed technique." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 27 (February 27, 2019): 92–98. http://dx.doi.org/10.33838/naoma.27.2018.92-98.

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Nowadays the problem of improving the artistic and technical features of the lithographic manner of mixed technique has matured already. The author of this study expanded and supplemented the ways of combining a variety of manners of lithographic techniques through practical experiments to achieve positive results in this area. Mixed technique is one of the types of lithography, in which a certain combination of lithographic manners engraving on stone with pencil, blurring ink, root paper, color lithography is used on one stone depending on the intent of the author, his artistic taste and poss

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23

Edelman, Nicole. "Eugène DELACROIX, Journal, nouvelle édition intégrale établie par Michèle Hannoosh, collection Domaine romantique, Paris, José Corti, 2009, 2 tomes, 2 519 p. ISBN : 9782-7143-0999-0. 80 euros pour les deux volumes." Revue d'histoire du XIXe siècle, no. 41 (December 15, 2010): 154–55. http://dx.doi.org/10.4000/rh19.4058.

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24

Carrier, David, and Michele Hannoosh. "Painting and the Journal of Eugene Delacroix." Journal of Aesthetics and Art Criticism 56, no. 1 (1998): 75. http://dx.doi.org/10.2307/431954.

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25

Guentner, Wendelin, Michele Hannoosh, and Eugene Delacroix. "Painting and the "Journal" of Eugene Delacroix." SubStance 26, no. 3 (1997): 184. http://dx.doi.org/10.2307/3685603.

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26

Kearns, James, and Michele Hannoosh. "Painting and the 'Journal' of Eugene Delacroix." Modern Language Review 92, no. 4 (1997): 974. http://dx.doi.org/10.2307/3734252.

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27

Fraser, Elisabeth A., Michelle Hannoosh, and Marc J. Gotlieb. "Painting and the Journal of Eugene Delacroix." Art Bulletin 79, no. 1 (1997): 160. http://dx.doi.org/10.2307/3046236.

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28

Sedleryonok, Valeria D. "Marino Faliero by Eugene Delacroix — a Venetian Picture." Actual Problems of Theory and History of Art 8 (2018): 61–70. http://dx.doi.org/10.18688/aa188-1-5.

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29

Mišić, Snežana. "Nevesta Pivljanina Baje — primjer nacionalno angažiranog slikarstva Đure Jakšića." Peristil 63, no. 1 (2021): 107–19. http://dx.doi.org/10.17685/peristil.63.7.

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U radu se analizira slika Nevesta Pivljanina Baje kao primjer nacionalno angažiranog stvaralaštva Đure Jakšića i verbalno-vizualnog prožimanja. Slika i njezina funkcija tumače se u kontekstu aktualne političke realnosti ‒ nacionalne borbe za oslobođenje od Otomanske vlasti, ukazujući na utjecaje i ikonografske predloške suvremenog europskog historijskog slikarstva, prije svega slikarstva Eugènea Delacroixa.

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30

WRIGLEY, R. "Review. Painting and the 'Journal' of Eugene Delacroix. Hannoosh, Michele." French Studies 51, no. 4 (1997): 486. http://dx.doi.org/10.1093/fs/51.4.486.

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31

Hoffman, Edith Warren. "A FOOTNOTE TO EUGÈNE DELACROIX'S "LIBERTY LEADING THE PEOPLE"." Source: Notes in the History of Art 9, no. 3 (1990): 24–30. http://dx.doi.org/10.1086/sou.9.3.23202648.

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32

Honore, Andrea Swanson. "A Pastel Study for "The Death of Sardanapalus" by Eugene Delacroix." Art Institute of Chicago Museum Studies 21, no. 1 (1995): 6. http://dx.doi.org/10.2307/4102809.

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33

DAVID, CARRIER. "Book Reviews:, Michele Hannoosh, Painting and The Journal of Eugene Delacroix." Journal of Aesthetics and Art Criticism 56, no. 1 (1998): 75. http://dx.doi.org/10.1111/1540_6245.jaac56.1.0075.

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34

Radchenko, Maria M. "EKPHRASTIC REPRESENTATION OF EUGÈNE DELACROIX’S PAINTING “LIBERTY LEADING THE PEOPLE” IN YU.P. ANNENKOV’S SHORT STORY “A SMALL HOUSE IN THE 5TH CHRISTMAS ST.”." Vestnik of Kostroma State University, no. 3 (2020): 171–76. http://dx.doi.org/10.34216/1998-0817-2020-26-3-171-176.

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The present article examines and proves the theory, according to which the short story “A Small House in the 5th Christmas St.” by Yu.P. Annenkov implicitly contains the elements of Eugène Delacroix’s painting “Liberty Leading the People”. The incorporation of painting’s elements into the story’s texture has become possible due to ekphrasis – an instrument Annenkov used quite often in his works. Taking into consideration the fact that there is no single approach in analyzing this “intermedial device”, two concepts of ekphrasis has been chosen as the theoretical basis for the present research –

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35

Anosova, Nina Aleksandrovna, and Nina Alexandrovna Anosovа. "Color and Sound in Balzac's Novels." Journal of Flm Arts and Film Studies 2, no. 1 (2010): 66–83. http://dx.doi.org/10.17816/vgik2166-83.

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This paper analyzes the dramatic color of Honore de Balzac's novels "Shagreen" (1831) and "Father Goriot" (1834). Using symbolic colors, different color details and motives, color and light accents, decoloration Balzac creates dramatic contrasts, transforms the time, reveals the inner state of the characters. The writer's works are the result of the brilliant application of the reflex theory to literature suggested by Eugene Delacroix, a painter and Balzac's contemporary. Artistic intensity and the diversity of color elements in Balzac's novels are one of the vivid steps on the way to the chro

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36

Bernstein Howell, Joyce. "Eugene Delacroix's review ofLe Dessin sans maîtreand the modernized discourse of drawing." Word & Image 21, no. 3 (2005): 223–43. http://dx.doi.org/10.1080/02666286.2005.10462114.

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37

Polistena, Joyce. "REVIVING EUGÉNE DELACROIX'S RELIGIOUS OEUVRE: ROMANTIC PAINTING AND ITS REINTEGRATION WITH TECHNOLOGY." Religion and the Arts 4, no. 4 (2000): 517–46. http://dx.doi.org/10.1163/156852901750369571.

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38

Guédron, Martial. "Eugène Delacroix. Souvenirs d’un voyage dans le Maroc." Critique d’art, no. 14 (September 1, 1999). http://dx.doi.org/10.4000/critiquedart.2418.

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39

Bernstein Howell, Joyce. "Strength and Fragility in Late Figure Drawings by Eugène Delacroix." Nineteenth-Century Art Worldwide 18, no. 2 (2019). http://dx.doi.org/10.29411/ncaw.2019.18.2.4.

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40

Núñez Rodríguez, Manuel. "E(ra)n tiempos de desconcierto: Delacroix y su canto a la libertad." Quintana: revista do Departamento de Historia da Arte, no. 17 (March 1, 2019). http://dx.doi.org/10.15304/qui.17.5607.

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Sabido es que el 27 de julio de 1830 los parisinos forman barricadas bajo una proclama popular que consiste en cambiar a un rey tirano (el Borbón Carlos X), por uno más liberal. Esto supone el éxito de la revuelta, de manera que el 2 de agosto del mismo año alcanzará el poder Felipe de Orleáns bajo la condición de rey del pueblo. Aunque se abordará esta cuestión en líneas sucesivas, de momento interesa conferir un puesto de privilegio al documento que da vida a lo que fue un estado de excitación febril, pero que –como diría Eugène Delacroix- en síntesis no es más que la historia de una idea. D

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41

"Painting and the Journal of Eugene Delacroix." Choice Reviews Online 33, no. 11 (1996): 33–6090. http://dx.doi.org/10.5860/choice.33-6090.

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42

"Eugene Delacroix (1798-1863): paintings, drawings, and prints from North American collections." Choice Reviews Online 29, no. 03 (1991): 29–1304. http://dx.doi.org/10.5860/choice.29-1304.

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43

"The paintings of Eugene Delacroix: a critical catalogue: fourth supplement and reprint of third supplement." Choice Reviews Online 41, no. 01 (2003): 41–0098. http://dx.doi.org/10.5860/choice.41-0098.

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44

"The paintings of Eugene Delacroix: a critical catalogue. v.5: Text; v.6: Supplement and plates." Choice Reviews Online 27, no. 09 (1990): 27–4943. http://dx.doi.org/10.5860/choice.27-4943.

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45

Larsen, Bente. "The Contemplation of Desolation - On the Motive of the Ennui by Eugene Delacroix and the Aesthetic Experience as Melancholy." Nordic Journal of Aesthetics 13, no. 24 (2001). http://dx.doi.org/10.7146/nja.v13i24.3117.

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46

Whyte, Jessica. "Freedom: The History and the Future of a Disputed Idea." Modern Intellectual History, July 12, 2021, 1–12. http://dx.doi.org/10.1017/s147924432100038x.

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Around 1882, the photographer Albert Fernique photographed a group of Parisian workers gathered around trestles and benches inside a workshop. The floor is strewn with piles of wood and the ceiling beams tower above the workmen. Even so, the space is dwarfed by a massive, sculpted shoulder, draped in Roman robes, which dominates the background of the photograph; two workers watching the scene from a beam just below the roof appear to be perched on it like sparrows. The shoulder belonged to the statue, Liberty Enlightening the World—a gift to the United States from the France of the Third Repub

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