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Delacroix and his forgotten worldthe...

Delacroix, Eugène, (1798-1863)

Delacroix and his forgotten worldthe origins of Romantic painting /

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Delacroix and his forgotten worldMargaret MacNamidhe.
其他題名:	the origins of Romantic painting /
其他題名:	Origins of Romantic painting
作者:	MacNamidhe, Margaret,
出版者:	London, England :I.B. Tauris & Co. Ltd.,2019.
面頁冊數:	1 online resource (xiii, 189 p.)
標題:	Romanticism in art.
電子資源:	https://doi.org/10.5040/9780755603688?locatt=label:secondary_bloomsburyCollections
ISBN:	9780755603688 (ebk.)

Delacroix and his forgotten worldthe origins of Romantic painting /
MacNamidhe, Margaret,

Delacroix and his forgotten worldthe origins of Romantic painting /[electronic resource] :Origins of Romantic paintingMargaret MacNamidhe. - London, England :I.B. Tauris & Co. Ltd.,2019. - 1 online resource (xiii, 189 p.)

Includes bibliographical references (p. 173-184) and index.

Delacroix's elusive paintings -- Isolation in David and Delacroix -- Paint that divides and gathers -- The lost romantic -- Stendhal's art criticism reconsidered.

Abstract freely available; full-text restricted to individual document purchasers.

The image of Eugène Delacroix as an august artist with an august oeuvre was initially frozen into place by posthumous tributes and it has continued to the present. He was one of the finest yet least understood painters of the nineteenth century, the golden age of the French Romantic movement. He is remembered best for his masterpiece, 'La Liberté guidant le people', but few of his works have received the kind of constant, fascinated revisiting that has sealed the iconic status of Théodore Géricault's 'Le Radeau de la Méduse', for example. This book is one of the first to look carefully at individual paintings by Delacroix, especially at one of his most important works - a crucial but often overlooked painting from early Romanticism's heyday, 'Scène des massacres de Scio'. The Scio ostensibly depicts an episodic aftermath of violent events from the Greek War of Independence (1821-32) but its slumped figures and subdued atmosphere do nothing to earn this description. Its defining characteristic - figures that appear simultaneously overwrought and utterly listless - remains unexplained by the attention to political contexts, gender roles, or other concerns that have articulated the reception of Delacroix. Margaret MacNamidhe brilliantly argues that the Scio represents an effort to furnish new models in a tradition that had become increasingly problematic. The painting's mass of bodies arguably defines Delacroix's contribution to French painting: his ebbing interest in depicting a purposeful, singular subjectivity, his increasing concentration on groups simultaneously trapped by and released from the most anguished of circumstances.

ISBN: 9780755603688 (ebk.)Subjects--Personal Names:

874983
Delacroix, Eugène,
1798-1863--Criticism and interpretation.Subjects--Topical Terms:

350673
Romanticism in art.

LC Class. No.: ND553.D33 / M32 2015eb

Dewey Class. No.: 759.4

Delacroix and his forgotten worldthe origins of Romantic painting /
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520 8 $a The image of Eugène Delacroix as an august artist with an august oeuvre was initially frozen into place by posthumous tributes and it has continued to the present. He was one of the finest yet least understood painters of the nineteenth century, the golden age of the French Romantic movement. He is remembered best for his masterpiece, 'La Liberté guidant le people', but few of his works have received the kind of constant, fascinated revisiting that has sealed the iconic status of Théodore Géricault's 'Le Radeau de la Méduse', for example. This book is one of the first to look carefully at individual paintings by Delacroix, especially at one of his most important works - a crucial but often overlooked painting from early Romanticism's heyday, 'Scène des massacres de Scio'. The Scio ostensibly depicts an episodic aftermath of violent events from the Greek War of Independence (1821-32) but its slumped figures and subdued atmosphere do nothing to earn this description. Its defining characteristic - figures that appear simultaneously overwrought and utterly listless - remains unexplained by the attention to political contexts, gender roles, or other concerns that have articulated the reception of Delacroix. Margaret MacNamidhe brilliantly argues that the Scio represents an effort to furnish new models in a tradition that had become increasingly problematic. The painting's mass of bodies arguably defines Delacroix's contribution to French painting: his ebbing interest in depicting a purposeful, singular subjectivity, his increasing concentration on groups simultaneously trapped by and released from the most anguished of circumstances.
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