Word: delacroix
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Dates: during 1960-1969
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...indulge a favorite pastime: "Making faces at some sacred cows." Earlier targets of his pointed pen have included Billy Graham, Cardinal Spellman, Lyndon B. Johnson, President Nixon and Frank Sinatra. Sorel's depiction of New York mayors past, present and possibly future is derived from Eugène Delacroix's painting of Liberty Leading the People. On the left, gazing up at Procaccino, is Mayor John Lindsay. Former Mayor Robert Wagner lies defeated in the foreground. The legs of the supine man at lower left may or may not be those of Republican Candidate John Marchi...
Nineteenth century French painting has never fitted neatly into art historians' annals. It was a century of variety and contradictions, blessed with an embarrassment of riches. Every decade had its transcendent master-David, Ingres, Delacroix, Courbet, Corot, Manet, Cézanne-whose force of personality outshone multitudes of minor but thoroughly accomplished painters. One artistic ism followed another, as Neo-classicism yielded to Romanticism, Realism to Impressionism...
...David embodied the contradictions of the century. More important, his gruesomely vivid portrait of the assassinated revolutionist Jean-Paul Marat dying in a bathtub established him as the first artist to make painting relevant to real and immediate events destined for history. "The father of the entire modern school," Delacroix called...
None appreciated the painting more than Eugène Delacroix, who compared its creator to Homer. An aristocrat who was reputed to be the illegitimate son of Talleyrand, Delacroix both extended and refined Gros' epic romanticism. Though his high baroque style claimed no successor, Delacroix's techniques in juxtaposing complementary colors influenced Cézanne, Van Gogh, Gauguin and the Impressionists. He hit upon the method on a visit to Morocco in 1832. He found that by counterpointing color opposites, which by the law of optics fused in the eye to form gray, he could attain at once...
...Daumier cartoons have a lighter touch: a skinny, knobby-nosed "Narcissus" stares at a fat face in the water; but they also are slightly too perverse to seem funny. Delacroix, standing at the other end of the title of the exhibition, asserts a more serious tone and representational image. His etching of a lion devouring a horse is memorable for the energy of the lines and the laser stare of the lion...