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This groundbreaking publication centers on a previously unknown variation of Eugène Delacroix’s (1798–1863) dramatic masterpiece The Last Words of the Emperor Marcus Aurelius, published here for the first time. This book offers a compelling reassessment of the relationship of the artist, widely considered a primary exemplar of Romanticism, to Neoclassical themes, as demonstrated by his life-long fascination with the death of Marcus Aurelius. Through this investigation, the authors reinterpret Delacroix’s lineage to such fellow artists as Jean-Auguste Dominique Ingres (1780–1867) and Jacques-Louis David (1748–1825). Playing on the various interpretations of the word “finish,” the book also offers a fascinating account of Delacroix’s famously troubled collaboration with his studio assistants, his conflicted feelings about pedagogy, and his preoccupation with the fate of civilizations.
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Delacroix and the Matter of Finish, Michèle Hannoosh, Eik Kahng, Marcel Gotlieb
- Language
- Released
- 2013
- product-detail.submit-box.info.binding
- (Hardcover),
- Book condition
- Very Good
- Price
- €17.99
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- Title
- Delacroix and the Matter of Finish
- Language
- English
- Authors
- Michèle Hannoosh, Eik Kahng, Marcel Gotlieb
- Publisher
- Yale University Press
- Released
- 2013
- Format
- Hardcover
- Pages
- 165
- ISBN10
- 0300199449
- ISBN13
- 9780300199444
- Series
- Description
- This groundbreaking publication centers on a previously unknown variation of Eugène Delacroix’s (1798–1863) dramatic masterpiece The Last Words of the Emperor Marcus Aurelius, published here for the first time. This book offers a compelling reassessment of the relationship of the artist, widely considered a primary exemplar of Romanticism, to Neoclassical themes, as demonstrated by his life-long fascination with the death of Marcus Aurelius. Through this investigation, the authors reinterpret Delacroix’s lineage to such fellow artists as Jean-Auguste Dominique Ingres (1780–1867) and Jacques-Louis David (1748–1825). Playing on the various interpretations of the word “finish,” the book also offers a fascinating account of Delacroix’s famously troubled collaboration with his studio assistants, his conflicted feelings about pedagogy, and his preoccupation with the fate of civilizations.