Displaying items by tag: eugene delacroix

The Fine Arts Museums of San Francisco have acquired the first painting to enter their collections by Eugène Delacroix (1798-1863), an artist whose work helped to define Romanticism in the visual arts.

Delacroix’s “Portrait of Charles de Verninac” (circa 1826), acquired by purchase from an anonymous American collector with resources from the Roscoe and Margaret Oakes Income Fund, depicts with great liveliness the artist’s nephew, less than five years his junior. They had been close companions since childhood and corresponded frequently as their adult lives separated them.

The Royal Academy is to present the first blockbuster of the year, and expectations are high for this exhibition of Flemish baroque painter Peter Paul Rubens – an artist who painted everything from family portraits to ceilings including at Banqueting House in Whitehall. But the artist is known for his feast of color, violence, eroticism and history that entranced the rulers who paid him to decorate palaces across early 17th-century Europe, and not least his sensuously fleshy female nudes and the term they spawned: "Rubenesque."

The artist was also a scholar, a self-made gentleman and noted diplomat who used his connections with royal patrons to broker deals on behalf of European powers. From the French Romantic painter Delacroix, whose works owe Rubens everything, to Picasso, who claimed to dislike Rubens but was obviously influenced by him, this exhibition promises to be a truly stupendous celebration of a the artist's onfluence; the exhibition will look at how Rubens has inspired of great artists during his lifetime and over the proceeding centuries.

The Los Angeles County Museum of Art presents Delacroix’s "Greece on the Ruins of Missolonghi," featuring the monumental painting, on view for the first time in Los Angeles. Painted in 1826 by Eugène Delacroix, the leading French Romantic painter of the day, "Greece on the Ruins of Missolonghi" is one of the most celebrated French paintings of the 19th century. The work is held in the Musée des Beaux-Arts in Bordeaux, France, and has seldom traveled.

“This exhibition is an extremely rare opportunity to showcase a masterwork by one of the 19th century’s most important painters,” said Leah Lehmbeck, curator of European Painting and Sculpture at LACMA. “The picture itself is profoundly rich with political, cultural, and artistic detail, and therefore speaks to a range of issues through its engaging dramatic context.”

The Louvre has commissioned Zeng Fanzhi to create a new work taking Eugène Delacroix's masterpiece "Liberty Leading the People" (1830) as inspiration. The resulting painting, entitled "From 1830 to Now, No. 4," now sits next to Delacroix's original at the Louvre, creating a compelling visual dialogue between past and present, East and West.

The Chinese auction darling is the second living Chinese artist whose work has been displayed amongst classic masterpieces at the Louvre.

From quick sketches to watercolors and finished masterpieces, works by artists such as Eugène Delacroix, Jacques-Louis David, Edgar Degas, Edouard Manet, Paul Cézanne, Vincent van Gogh, Egon Schiele, Piet Mondrian and Pablo Picasso are brought together in Mind’s Eye: Masterworks on Paper from David to Cézanne (on view through October 26, 2014). Organized by the Dallas Museum of Art, the exhibition features more than 120 works on paper—many of which have never been exhibited publicly—by 70 artists. Drawn in part from the DMA’s collection, but with significant loans from private collections in North Texas, Mind’s Eye, offers new insights into the working methods and practices of these artists, providing an intimate view of their approach to art making while also presenting the drawings and watercolors as finished works of art in their own right.

“One of the goals of the Dallas Museum of Art is to encourage collecting within the community. There is no better example of how to do this than to highlight the Museum’s graphic holdings together with those that have been assembled in private homes throughout our area,” said Maxwell L. Anderson, The Eugene McDermott Director of the DMA. “Mind’s Eye: Masterworks on Paper from David to Cézanne presents a rich and fascinating array of works in various media by artists from the Austro-Hungarian, Belgian, British, Dutch, French, German, Spanish and Swiss schools, spanning nearly 150 years—from the French Revolution to the dawn of modernism.”

In fall 2015, the Minneapolis Institute of Arts will present “Eugène Delacroix and Modernity,” the first major exhibition to explore the legacy of the celebrated French painter, an influential trailblazer and one of the first modern masters of the form. The exhibition takes Cézanne’s observation that “we all paint in Delacroix’s language” as its starting point to reveal how Delacroix revolutionized French painting for the next generation of artists, leaving an indelible mark on Matisse, Van Gogh, Gauguin, Renoir, Degas, Monet, and others. The MIA is partnering with the National Gallery, London, for this unprecedented survey, featuring important works from the museums’ collections as well as rarely seen works from private collections. The exhibition opens at the MIA on October 18, 2015, and runs through January 10, 2016. It is on view at the National Gallery, London, February 10 through May 15, 2016.

By the time of his death, Eugène Delacroix (1798–1863) was one of the most revered artists in Paris and a hero of the avant-garde. By challenging the status quo by pushing the boundaries of the “Grand Style” of painting into the realm of modernism, he paved the way for younger artists. His large-scale paintings were the first to use the expressive, improvisational markmaking of the Impressionists, the dreamlike allusion of the Symbolists, and the bold colors of Morocco made famous 80 years later by Renoir and Matisse.

On February 22, “Delacroix and the Matter of Finish,” the first exhibition in the U.S. to focus on the French Romantic artist in over a decade, opened at the Birmingham Museum of Art in Alabama. The exhibition, which features works from 27 international institutions including the Kunstmuseum Basel in Switzerland, the Musée national Eugène Delacroix in Paris and the Museo Thyssen-Bornemisza in Madrid, was previously on view at the Santa Barbara Museum of Art in California and was organized by the institution’s assistant director and chief curator, Eik Kahng.

The show presents 25 paintings and 20 works on paper, including a previously unpublished version of Delacroix’s “The Last Words of the Emperor Marcus Aurelius,” which Kahng authenticated after several years of scholarly and technical study. Jeannine O’Grody, Deputy Director and Chief Curator at the Birmingham Museum of Art, said, “We are thrilled to be one of only two venues for this show, which represents works of collections from around the world including Paris, Zurich, Madrid, and Toronto.”

Delacroix is often referred to as the father of French Romanticism, the movement that dominated French painting in the first half of the 19th century. However, the exhibition explores the artist’s relationship to Neoclassicism, Romanticism’s alleged antithesis, due to the artist’s allegiance to classical subjects and his admiration for the art of the past. The exhibition also suggests that Delacroix, with his fiery palette and loose brushwork, was something of a forefather to Impressionism.

“Delacroix and the Matter of Finish” will remain on view at the Birmingham Museum of Art through May 18, 2014.

The Santa Barbara Museum of Art presents Delacroix and the Matter of Finish, the first exhibition in the U.S. to focus on the French Romantic artist in over a decade. The show includes 27 paintings and 18 works on paper as well as a previously unknown and unpublished version of Eugène Delacroix’s masterpiece, The Last Words of the Emperor Marcus Aurelius, which surfaced in a Santa Barbara private collection. After several years of scholarly and technical study, the Santa Barbara Museum of Art’s Assistant Director and Chief Curator, Eik Kahng, authenticated the painting.  

Delacroix is often referred to as the father of French Romanticism, the movement that dominated French painting in the first half of the 19^th century. However, the exhibition and its accompanying catalogue by Kahng explore Delacroix’s relationship to Neoclassicism, Romanticism’s alleged antithesis, due to the artist’s allegiance to classical subjects and his admiration for the art of the past. The exhibition also suggests that Delacroix, with his fiery palette and loose brushwork, was something of a forefather to Impressionism.

Delacroix and the Matter of Finish features works from 27 international institutions including the Kunstmuseum Basel, the Musée national Eugène Delacroix in Paris and the Museo Thyssen-Bornemisza in Madrid. After it closes at the Santa Barbara Museum on April 20, 2014, the exhibition will travel to the Birmingham Museum of Art in Alabama.

On October 27, 2013, The Santa Barbara Museum of Art will present Delacroix and the Matter of Finish, the first exhibition in the U.S. to focus on the French Romantic artist in over a decade. The show will include 27 paintings and 18 works on paper as well as a previously unknown and unpublished version of Eugène Delacroix’s masterpiece, The Last Words of the Emperor Marcus Aurelius, which surfaced in a Santa Barbara private collection. After several years of scholarly and technical study, the Santa Barbara Museum of Art’s Assistant Director and Chief Curator, Eik Kahng, authenticated the painting.  

Delacroix is often referred to as the father of French Romanticism, the movement that dominated French painting in the first half of the 19^th century. However, the exhibition and its accompanying catalogue by Kahng explore Delacroix’s relationship to Neoclassicism, Romanticism’s alleged antithesis, due to the artist’s allegiance to classical subjects and his admiration for the art of the past. The exhibition also suggests that Delacroix, with his fiery palette and loose brushwork, was something of a forefather to Impressionism.

Delacroix and the Matter of Finish features works from 27 international institutions including the Kunstmuseum Basel, the Musée national Eugène Delacroix in Paris and the Museo Thyssen-Bornemisza in Madrid. After it closes at the Santa Barbara Museum on April 20, 2014, the exhibition will travel to the Birmingham Museum of Art in Alabama.

Eugène Delacroix’s (1798-1863) celebrated painting Liberty Leading the People was defaced while on view at the Louvre’s satellite location in Lens, which opened in the former mining town in northern France in December 2012. French police have a detained the woman accused of scrawling a graffiti tag along the bottom of the work.

Delacroix, a leader of the Romantic school in French painting, painted Liberty Leading the People to celebrate the July revolution of 1830, which brought down France’s Charles X. The work was featured on the country’s 100-franc banknote before the Euro was adopted and is rumored to have inspired New York’s Statue of Liberty.

Just before the museum closed for the day on Thursday, February 7, 2013, a 28-year-old woman scribbled in 12 inch writing what officials believe to be a reference to a 9/11 conspiracy theory. Officials believe that the work can be easily cleaned, but a restoration expert from the Louvre was being sent to Lens to perform a thorough examination. Museum officials have not yet decided if the painting will need to be removed.