Delacroix

BY PAUL G. KONODY

ILLUSTRATED WITH EIGHT
REPRODUCTIONS IN COLOUR

LONDON: T. C. & E. C. JACK
NEW YORK: FREDERICK A. STOKES CO.
1911

LIST OF ILLUSTRATIONS

"Delacroix, lac de sang, hanté de mauvais anges,
Ombragé par un daïs de sapins toujours vert,
Où, sous un ciel chagrin, des fanfares étranges
Passent comme un soupir étouffé de Weber."
                                    —Baudelaire, "Fleurs du Ma1."

I

To-day, as one examines the ten masterpieces by Delacroix in the Salle des États at the Louvre—ten pictures which may without fear of contradiction be asserted to form an epitome of the art of the man who is now generally acknowledged to be the fountain-head of all modern art—one can only with difficulty understand the bitter hostility, the fierce passion, aroused by these works when Delacroix's name was the battle-cry of the moderns, when Delacroix was the leader of the numerically small faction which waged heroic war against the inexorable tyrannic rule of academic art. What was once considered extreme and revolutionary, has become what might almost be described as a classic basis of a revaluation of æsthetic values. Even Manet's "Olympia," the starting-point of a more recent artistic upheaval, a picture which on its first appearance at the Paris Salon of 1865 was received with wild howls of execration, now falls into line at the Louvre with the other great masterpieces of painting. It marks a bold step in the evolution of modern art, but it is no longer disconcerting to our eyes. And Delacroix can no longer be denied classic rank. To understand the significance of Delacroix in the art of his country, and the hostility shown to him by officialdom and by the unthinking public almost during the whole course of his life, one has to trace back the art of painting in France to its very birth. It will then be found that the history of this art, from the moment when French painting emerges from the obscurity of the Middle Ages until well into the second half of the nineteenth century, is a history of an almost uninterrupted struggle between North and South.

All the efforts of chauvinistic French critics have failed to establish the existence of an early indigenous school. Nearly all the early painters who are mentioned in contemporary documents were Flemings who had settled in France. Their art is so closely allied to that of the Northern Schools, that it is sometimes impossible to establish the origin of pictures that are traditionally ascribed to French painters. But at the same time, perhaps in the train of the Popes who had transferred their Court to Avignon, Italian art began to invade France from the South. Simone Martini's frescoes in the Papal Palace at Avignon certainly left their mark upon the School that arose in the Provençal city; and gradually traces of Italian influence made themselves felt in an art that remained Northern in its essential features. There is at the National Gallery an early French panel, a "Scene from the Legend of St. Giles" (No. 1419), which clearly shows the harmonious blending of the two currents.

PLATE II.—ALGERIAN WOMEN IN THEIR APARTMENT

(In the Louvre)

This picture was one of the first-fruits of Delacroix's journey to Morocco with Count Mornay's mission. It was painted in 1833, the year after his return to France, commissioned by the State at the price of 3000 frs. The handling of the upright figure of the negress suggests Spanish influence, and was in turn obviously well known to Manet when he painted his "Olympia."

PLATE II.—ALGERIAN WOMEN IN THEIR APARTMENT

Italianism became paramount in French painting when, in the fourth decade of the sixteenth century, Rosso and Primaticcio followed the call of Francis I. and founded the School of Fontainebleau. From about 1532 right into the nineteenth century, the official art of France, that is to say, the art favoured by the rulers and encouraged by the Academy, was based on the imitation of Raphael and the Italians of the decline—an art that was essentially intellectual, cold, and dominated by drawing and design, not by colour. In the reign of Louis XIV., when Le Brun became the art despot of his country, the foundation of the Academy, and subsequently of the French School at Rome, led to the formulating of definite canons of formal beauty and of the "grand style." Evolution on these lines was impossible. French art was only saved from stagnation by the influence of Northern art, from which it continued to derive its vitality. It was saved by painters who, like Philippe de Champaigne and Watteau, had come from the North, or who, like the brothers Le Nain, Chardin, Boucher, Fragonard, and finally Delacroix, had drawn their inspiration either from the Dutchmen or from Rubens and the Flemings.

During the "grand" century there are only isolated instances of painters who resisted the tyranny of academic rule and the exclusive worship of classic