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Salon of Mr. Delacroix -

Salon of Mr. Delacroix at the Exhibition Expo Paris 1855
© Source / BnF
Square Salon (France)

France - This salon was not exclusively attributed to M. Delacroix, whose name it bore, however. Other works were exhibited there, which also had great merit.
Beginning our review on the left as we entered, we first met M. Henri Lehmann, of the Duchy of Holstein, who had been naturalized French and whose paintings had a certain reputation: he had done a Portrait of the late Mme Arsène Houssaye (3557), a Hamlet (3553), an Ophelia (3554), and seven or eight other mythological canvases or portraits (3551 to 3559), about the value of which there was much debate.
We then noticed the Student (3645), by M. Maréchal, of Metz, the one around the stained-glass windows which closed the two ends of the crystal palace; some small paintings of undisputed value: the Rabbits (3456) by M. Eugène Lambert; Bernard de Palermo (3457) by M. Eugène Lambert; Bernard de Palissy (3942), the Tintoretta (3943), N. Poussin (3941), Childhood (3944), by M. Roux; the Vigil of a Campaign (2574), the Hunter (2576), the Clasp (2577), by M. Billotte.
Two large Landscapes, by M. Français (3126 and 3125), completed the series of interesting canvases which preceded the exhibition of M. Delacroix.
We shall now turn to the works of M. Eugène Delacroix, one of the great painters of the French school. M. Delacroix was one of those powerful individualities who excited in the highest degree the most contrary feelings: some denied his talent with energy; many others had for his works a deep admiration. M. Delacroix was a pupil of Guérin, according to the booklet. In fact, he was not of any school: he was himself, and that was enough. He obtained the second class medal in 1824; decorated in 1831, he was made an officer of the Legion of Honour in 1846. He was not a member of the Institute: he also signed the remarkable articles on aesthetics published by the Revue des deux mondes: Eug. Delacroix, member of the Amsterdam Academy.
The main works of his entire life had been exhibited in the salon where we were. We will make, as for M. Ingres, a complete enumeration of his paintings.
2939. Chasse aux lions, painted in 1853, belonging to the State.
2931. Women of Algiers in their flat; painted in 1834 (Emperor's house).
2908. Christ in the Garden of Olives, painted in 1827 (church of Saint-Paul and Saint-Louis, Paris).
2026. The 28th of July 1830! painted in 1831 (Emperor's house).
2930. Death of Valentine (subject taken from Goethe's Faust); painted in 1848.
2936. Hamlet: "The peasant: That skull, Sir, was the skull of Yorick, the King's jester. - Hamlet: Alas, poor Yorick!"
2925. Boissy d'Anglas at the Convention; a sketch that appeared in the 1831 competition.
2927. Combat du giaour et du pacha, painted in 1835.
2911. The Magdalene in the Desert; painted in 1845.
2929. Le Tasse en prison; painted in 1848, belonging to M. Alexandre Dumas.
2919. King John at the battle of Poitiers: his young son, Philip the Bold, seeks to protect him in the fray; painted in 1830.
2918. Capture of Constantinople by the Crusaders: the principal chiefs go through the various quarters of the city, Baldwin, Count of Flanders, at their head; the grieving families invoke their clemency. Painted in 1841 (emperor's house).
2020. Battle of Nancy: Charles the Bold, Duke of Burgundy, mired in a pond, is killed by a knight from Lorraine, as he tries to get out; painted in 1834 (Nancy Museum).
2917. The Emperor Justinian composing his laws; painted in 1827 (Council of State).
2921. Doge Marino Faliero, condemned to death, beheaded on the stairs of the Ducal Palace; painted in 1827.
2937. The Shipwreck of Don Juan; painted in 1841.
2915. Justice of Trajan, better known as the Triumph of Trajan; painted in 1840 (.Musée de Rouen).
2932. Jewish wedding in Morocco; painted in 1841 (Emperor's house).
2912. The Sibyl shows, in the heart of the dark forest, the golden branch, conquest of the great hearts and favourites of the gods; painted in 1845.
2941. Several paintings under the same number.
2942. Flowers and fruits.
2924. Scene of the massacres of Scio; painted in 1824 (Musée du Luxembourg).
2909. Christ on the Cross, painted in 1847.
2922. The Two Foscari. Doge Foscari obliged to attend the reading of the sentence condemning his son James Foscari to perpetual exile as an enemy of the republic.
2940. Head of an old woman.
2935. Romeo and Juliet, scene from the Tombs of the Capulets; painted in 1839.
2928. The Prisoner of Chillon. Locked in the same dungeon with his younger brother, he sees him die slowly before His eyes without being able to reach him or help him (Lord Byron); painted 1835.
2933. The Convulsionaries of Tangier; painted in 1838.
2910. Christ at the Tomb; painted in 1848.
2916. Marcus Aurelius, dying, recommends the youth of his son to some philosophical and Stoic friends like himself; painted in 1845.
2913. Medea furious and pursued is about to kill her two children; painted in 1838 (Museum of
2934. The farewell of Romeo and Juliet; painted in 1840.
2938. The Arab Family, painted in 1854.
2923. After the capture of his castle, the bishop of Liège has his throat cut in the presence of Guillaume de la Marck, nicknamed the Wild Boar of the Ardennes, in the middle of an orgy; painted in 1831.
2914. Dante and Virgil, led by Phlegias, cross the lake which surrounds the infernal city of Dity; some culprits try to enter the boat. Dante recognises Florentines among them; painted in 1822 (house of the emperor).
After M. Delacroix, we find on our way a young artist who hides under the pseudonym of Henriette Browne a very remarkable talent. Miss *** has exhibited the Portrait of a Brother of the Christian School (2640), the Mutual Education (2643 and 2642), the School of the Poor (2641), which are charming paintings; then come five small paintings by M. Pezons (3788, 3785, 3783, 3786, 3789); the Flood at Saint-Cloud (3325), a landscape of great effect, a Marsh in Picardy (3329), an Autumn Evening (3330), belonging to the house of the Emperor, painted all three by M. Paul Huet; four small paintings (2698 to 2701) by M. Chavet; two canvases by M. Th. Chassériau (2090 and 2691), the imitator of M. Delacroix's painting; a Portrait of Lieutenant Bellot (3415), lost in the Polar Sea in search of Franklin, by M. Jobbé-Duval.
This salon was finally completed by the very remarkable works, but in a genre which was the opposite of that of M. Delacroix, by M. J.-H. Flandrin. It was well done to place the paintings of these two artists in the same salon; they proved to the impartial public that two artists could have an outstanding merit and an immense talent, without their works having anything similar.
We will quote from M. J.-H. Flandrin: a study figure (3076); Saint Clair healing the blind (3075), and five portraits (3078, 3081, 3079, 3080 and 3082). M. J.-P. Flandrin, his brother, had exhibited the Gorges de l'Atlas (3087), the Struggle (3088), and two or three landscapes in the so-called school style (3090, 3093, 3091, 3095), and finally the Archer. (3092), which closes the salon.
We left the salon of M. Delacroix by the centre door and turned right, to arrive at the entrance of the salon of M. Horace Vernet.

© Guide dans le Palais de l'Industrie et des Beaux-Arts 1855