Densely painted, this painting depicts a battle with figures both on foot and on horseback. Fallen figures in the foreground are mirrored by a line of figures still engaged in combat in the futher distance. The rump of a white horse at the left is balanced by another pale horse and rider (with banner) that approaches the viewer at right.
A study for one of Decamps' most important works that was exhibitied in the Salon of 1834, this work depicts a battle in 101BCE of the Roman consul Marius against the Germanic tribe of the Cimbri. In palette and composition, this painting recalls the battle scenes of Delacroix.
Inverted cone-shaped vessel of brown, yellow and green glass
In the early 20th century the refined opulence of glasswork, typified by Louis Comfort Tiffany and the Arts and Crafts movement, gradually gave way to a more modernist aesthetic that emphasized cleaner lines and plain undecorated surfaces. Glassmakers working in this modernist vein began to reject superfluous surface ornament and focused instead on the total integration of form and design. François-Emile Decorchemont, who was initially inspired by the Art Nouveau movement before developing more austere idioms, is perhaps best known for his technique of coloring glass to make it resemble translucent stones.
This black and white print shows an outdoor setting with two men, one reclining and facing the viewer, the other seated with his legs drawn into his chest and gazing out to the right. They are dressed in robes and wear Arabic headdresses ("Guhtra"). There are rifles at their sides. In the background on the right are two men, one riding a horse, who walk toward a group of buildings in the distance. There is a French inscription below this scene that identifies the artist, title and publisher of the print.
Delacroix's visit to Algeria and Morocco in 1832 gave him direct experience with the exotic land and culture of North Africa. This scene depicting two hunters from the Algerian city of Oran shows both the dignified mien of the men as well as the accurately portrayed details of dress and weapons.
This black and white print depicts a male lion attacking the body of a horse near a rocky cave. Only the front portion of the horse is shown, lying on its side on the ground. The lion crouches above the horse and presses down with its front paws, claws extended, as it sinks its teeth into the horse's neck. There is a fierce, wild eyed expression on the lion's face. The scene is set in an undefined rocky landscape.
Delacroix traveled to North Africa in 1832, visiting Morocco and Algeria--a visit that fueled his interest in non-European cultures. The interest in exotic locales fascinated Europeans and coincided with the rise of tourism; painters (many of whom never left Europe) depicted distant places and different cultural settings, including harems. For the sophisticated and urbane Delacroix, the unleashed ferocity of wild animals--particularly the big cats--stirred his imagination. Scenes such as this of a lion attacking a horse figured frequently in Delacroix's art.
Inscribed in graphite, u.r.: voir les tombeaux dans les montagnes de/Caffan[underlined] Syrie; below that, u.l., taille [sic] dans le roc; below that, u.c.: mur se perdant dans l'ombre; below that, u.r., paysage idem[underlined]; below that, u.c., rochers;
verso; l.r. corner, in graphite: 58.6 [Lannan Foundation acc. no.]
A small crowd of figures gathers around the body of a dead man and a fainting woman in the center of this bronze panel. The dead man's body and the two men holding his burial shroud appear in the foreground, while the fainting woman and the three women and the man who support her are positioned immediately above and behind them. Another woman with loose, flowing hair leans forward to kiss the left hand of the dead man, uniting the two parts of this central group. Four other male figures, rendered in slightly smaller scale and lower relief, look on from the sides. Three crosses provide the backdrop to the drama. The central cross is empty, yet two twisting nude males are suspended from the crosses on either side.
This bronze panel depicts the removal of Christ from the cross, which looms empty in the background. His muscular body, held by Joseph of Arimathea and Nicodemus, lies in calm repose at the center of a storm of grief. Mary Magdalene, her hair unbound, leans sharply forward to kiss Christ's left wrist, while the Virgin Mary falls back in a faint into the arms of three women and St. John the Evangelist. Great sweeps of drapery augment the impassioned responses of the figures. Four onlookers stand to the sides and the two thieves, their bodies naked and twisted, still hang on their crosses.