Word: delacroix
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Dates: during 1980-1989
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TREASURES FROM THE FITZWILLIAM MUSEUM, National Gallery of Art, Washington. Highlights of the collection built up by British connoisseurs over two centuries at Cambridge University's Fitzwilliam, including paintings by Titian, Rubens and Delacroix, manuscripts, ceramics, sculpture and decorative arts. Through June...
TREASURES FROM THE FITZWILLIAM MUSEUM, National Gallery of Art, Washington. Highlights of the collection built up by British connoisseurs over two centuries at Cambridge University's Fitzwilliam, including paintings by Titian, Rubens and Delacroix, manuscripts, ceramics, sculpture and decorative arts. Through June...
...allegory and moral precept was quite new in the 1860s, when Degas was coming to maturity as a painter. The highest art was still history painting, in which France had reigned supreme; but since 1855 practically the whole generation of history painters on whom this elevation depended -- above all, Delacroix and Ingres -- had died, and no one seemed fit to replace them. French critics and artists alike, and conservative ones in particular, felt a tremor of crisis, & as others would a century later as the masters of modernism died off. After them, what could sustain the momentum of culture...
...exponent had been the man Degas most revered, Ingres. Yet their exquisite clarity of profile could not have been achieved without Ingres's example. In them, the great synthesis between two approaches that 30 years before had been considered the opposed poles of French art -- Ingres's classical line, Delacroix's romantic color -- is achieved. There is no clearer instance of the way in which true innovators like Degas do not destroy the past (as the mythology of avant-gardism insisted): they amplify...
...cannot fail to associate this with Degas's own working methods, the sense of filiation and descent that would breathe through his work for the rest of his life, the past feeding into the present and then out into the future. Degas, the synthesizer of Ingres and Delacroix, would point -- through the wild color fields and direct manual touch of his later years -- to a modernism that was not yet born...