Eugène Delacroix Criticism - Essay

C. R. Parsons (essay date 1964)

(Nineteenth-Century Literary Criticism)

SOURCE: Parsons, C. R. “Eugene Delacroix and Literary Inspiration.” University of Toronto Quarterly 33 (1964): 164-177.

[In the following essay, Parsons examines the relationship between literature and painting, often left unexamined by artists themselves, with the notable exception of Delacroix.]

The problem of the relationship between literature and painting, although it has attracted for a long time the attention of scholars and has led to interesting research, still remains a profitable field of investigation. Unfortunately, artists and men of letters are often reluctant to admit how much they owe to one another. An exception is Eugène Delacroix, who lived...

(The entire section is 6371 words.)

George P. Mras (essay date 1966)

(Nineteenth-Century Literary Criticism)

SOURCE: Mras, George P. “Preface” and “Delacroix's Conception of Art.” In Eugene Delacroix's Theory of Art, pp. vii-ix, 10-12. Princeton: Princeton University Press, 1966.

[In the following excerpts, Mras asserts that Delacroix's literary endeavors are the “most significant non-visual contribution by a major artist to the history of art.” The critic also links Delacroix's personality with the need for articulation in all matters that concerned his art.]


The literary endeavors of Eugène Delacroix, especially the Journal, have long been ranked among the most significant nonvisual contributions by a major artist to the...

(The entire section is 1798 words.)

Roger J. Porter (essay date 1994)

(Nineteenth-Century Literary Criticism)

SOURCE: Porter, Roger J. “‘A Serpent in the Coils of a Pythoness’: Conflict and Self-Dramatization in Delacroix's Journal.” In Autobiography, Historiography, Rhetoric: A Festschrift in Honor of Frank Paul Bowman, edited by Mary Donaldson-Evans, Lucienne Frappier-Mazur, and Gerald Prince, pp. 161-79. Amsterdam: Rodopi, 1994.

[In the following essay, Porter analyzes the introspective aspects of Delacroix's Journal, evaluating what these deeply personal writings say about the author's artistic aesthetic, the role of conflict in his art, and self-identification.]

On September 3, 1822, Eugène Delacroix began the journal which he would keep, punctuated...

(The entire section is 8324 words.)

Michèle Hannoosh (essay date 1995)

(Nineteenth-Century Literary Criticism)

SOURCE: Hannoosh, Michèle. “Introduction” and “A Language for Painting: The Dictionnaire des Beaux-Arts.” In Painting and the Journal of Eugene Delacroix, pp. 3-22, 93-105. Princeton: Princeton University Press, 1995.

[In the following essay, Hannoosh discusses the development of paradoxes and complexities in Delacroix's Journal. The critic also evaluates Delacroix's various articles on the arts as well as his unfinished essay Dictionnaire des Beaux-Arts.]


Tuesday, 3 September 1822—I am carrying out my plan, formulated so many times, of writing a diary. What I want most keenly is not to...

(The entire section is 18465 words.)

Michèle Hannoosh (essay date 1998)

(Nineteenth-Century Literary Criticism)

SOURCE: Hannoosh, Michèle. “A Painter's Impressions of Modernity: Delacroix, Citizen of the Nineteenth Century.” In Impressions of French Modernity: Art and Literature in France 1850-1900, edited by Richard Hobbs, pp. 9-29. Manchester: Manchester University Press, 1998.

[In the following essay, an earlier version of which was presented as a lecture in 1996, Hannoosh examines Delacroix's conception of time, as seen in the Journal, and investigates the painter's reaction to the technological and industrial revolution occurring around him.]

‘Toutes ces aventures de tous les jours prennent sous cette plume un intérêt incroyable’ (All those everyday...

(The entire section is 10100 words.)

Wendelin Guentner (essay date spring/summer 1999)

(Nineteenth-Century Literary Criticism)

SOURCE: Guentner, Wendelin. “The Inscription of the Sketch in the 19th-Century French Journal: Michelet, Delacroix and the Goncourt Brothers.” Nineteenth-Century French Studies 27, nos. 3 & 4 (spring/summer 1999): 276-289.

[In the following excerpt, Wendelin discusses Delacroix's conception of the artistic sketch as part of a larger argument regarding the definition of art in the nineteenth century.]

In one of his many reflections on art and aesthetics Paul Valéry wrote the following in 1934:

Achever un ouvrage consiste à faire disparaître tout ce qui montre ou suggère sa fabrication. L'artiste ne doit,...

(The entire section is 3836 words.)