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It represented the starving, the dead, and thedying of the Medusas crew on a
raft in mid-ocean.
Its theme was restless, harrowing,horrible. It met with
instant opposition from the old men and applausefrom the young men. That
position fell to his contemporary and fellow-pupil,Delacroix (1799-1863).
Its
position toward classicism was antagonistic, a rebound, aflying to the other
extreme.
In himself Delacroix embodied all that was best and strongest in
theromantic movement. In subjectit was tragic and passionate, like the poetry
of Hugo, Byron, andScott. In subjectit was tragic and passionate, like the
poetry of Hugo, Byron, andScott. It was literary, romantic, dramatic, almost
theatric in itsseizing of the critical moment.
In himself Delacroix embodied
all that was best and strongest in theromantic movement.
In subjectit was
tragic and passionate, like the poetry of Hugo, Byron, andScott. Its theme was
restless, harrowing,horrible. It was literary, romantic, dramatic, almost
theatric in itsseizing of the critical moment. It was literary, romantic,
dramatic, almost theatric in itsseizing of the critical moment. In subjectit
was tragic and passionate, like the poetry of Hugo, Byron, andScott. He
purposelyslurred drawing at times, and was opposed to formal composition.
In
subjectit was tragic and passionate, like the poetry of Hugo, Byron,
andScott.
LEADERS OF ROMANTICISM: Symptoms of the coming movement were
apparentlong before any open revolt. It was in 1822 that Delacroixs first
Salonpicture (the Dante and Virgil) appeared.
It met with instant opposition
from the old men and applausefrom the young men. It was in 1822 that Delacroixs
first Salonpicture (the Dante and Virgil) appeared.
The disagreement was
violent, and out of it grew the so-calledromantic quarrel of the 1820s.
It was
in 1822 that Delacroixs first Salonpicture (the Dante and Virgil) appeared. It
was literary, romantic, dramatic, almost theatric in itsseizing of the critical
moment. In himself Delacroix embodied all that was best and strongest in
theromantic movement.
He purposelyslurred drawing at times, and was opposed to
formal composition.
This was decried by the classicists, and even Gros calledit
the massacre of art. It represented the starving, the dead, and thedying of the
Medusas crew on a raft in mid-ocean.
In subjectit was tragic and passionate,
like the poetry of Hugo, Byron, andScott.
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