Dominique de Font-Réaulx - Delacroix et l'antique, Objets da - Lot 147

Dominique de Font-Réaulx - Delacroix et l'antique, Objets dans la peinture, Delacroix en héritage, Une lutte moderne & Maurice Denis et Eugène Delacroix Delacroix et l'antique (2015) Delacroix moved to rue de Fürstenberg in 1857; he was able to build a large studio in the garden he used, where he worked on his latest creations. For his own enjoyment, since it overlooked the garden, he chose to decorate the beautiful façade, rhythmically patterned like those of English neoclassical residences, with casts of ancient works. Combining Athens and Rome, the struggles waged by Theseus and the harmony offered by the fine arts, the instant of combat and the eternity of artistic creation, this façade of the painter's last studio composes a kind of intimate program, in homage to Delacroix's secret Antiquity. The year of his installation was also the year, finally, after six unsuccessful attempts, of his election to the Académie des Beaux-Arts. He then began work on a Dictionnaire des beaux-arts, a work of great theoretical ambition, which he never completed. Delacroix - Objets dans la peinture, souvenir du Maroc (2014) Delacroix. Objets dans la peinture, souvenir du Maroc presents the objects Delacroix brought back from his trip to North Africa in 1832 in relation to the works - paintings, drawings and engravings - in which he chose to depict them. By highlighting this important part of the Musée Delacroix's permanent collection, the book enables us to study the realistic and phantasmagorical aspects of the artist's Orientalist work. Delacroix en héritage - Around the Moreau-Nélaton collection (2014) Étienne Moreau-Nélaton's generous donations in 1906 and 1927 contributed to a remarkable increase in the collections of the Louvre and other French museums. Eugène Delacroix was one of the best represented artists in the Moreau-Nélaton collection. The latter had in part inherited works acquired by his grandfather Adolphe Moreau, who saw the painter regularly, and then by his father Adolphe Moreau fils, the first cataloguer of Delacroix's work. The latter was in fact the artist who bridged the three generations of this family of enlightened art lovers, stockbrokers and bankers. A modern struggle, from Delacroix to the present day (2018) In 1849, Eugène Delacroix was commissioned to paint the decor for the Chapel of the Holy Angels in the Church of Saint-Sulpice. This monumental, rich and sublime work, which occupied him until 1861, could be considered, after his death, as his spiritual testament. The singular way in which Delacroix had chosen to treat the biblical episodes of Jacob's Wrestling with the Angel, Saint Michael Overcoming the Devil and Heliodorus Driven from the Temple showed how faithful the artist had remained to his art, reinventing a classic painting motif - that of the struggle - and drawing on ancient Florentine, Venetian and Flemish sources to transfigure it. Maurice Denis and Eugène Delacroix, from studio to museum (2017) Painter Maurice Denis played a key role in saving Delacroix's last studio on the Place de Fürstenberg and transforming it into a museum. His commitment as president of the Société des Amis d'Eugène Delacroix proved decisive. Maurice Denis not only put his reputation as a great artist at the service of the project to create a Musée Delacroix; he dedicated himself to it, fully assuming the role of director of the fledgling institution. Édouard Vuillard, Henri Matisse and Paul Signac were also active members of the Société. le passage 2014-2018