Eugène Delacroix Quotes

Weaknesses in men of genius are usually an exaggeration of their personal feeling; in the hands of feeble imitators they become the most flagrant blunders. Entire schools have been founded on misinterpretations of certain aspects of the masters. Lamentable mistakes have resulted from the thoughtless enthusiasm with which men have sought inspiration from the worst qualities of remarkable artists because they are unable to reproduce the sublime elements in their work.

Poor deluded people, there will be no happiness for you in release from work! See these idle loafers who seem overburdened with the weight of time and have no idea what to do with their leisure which these machines will increase still further. In other times, travelling was a distraction for them, it took them out of their usual rut; they saw new countries and new customs…Nowadays they are carried so swiftly from place to place that they have no time to see anything; they mark off the stages of their journeys by names of railway stations which look exactly alike, and when they’ve crossed the whole of Europe they feel as though they have never left these dull stations which appear to follow them everywhere, like their own idleness and incapacity for enjoyment. It will not be long before they discover that the costumes and strange customs which they crossed the earth to see are the same all over the world. (6 June 1855).

O shameful philanthropists! O philosophers, without heart or imagination! Do you think that man is a machine like the rest of your machines? You deprive him of his most sacred rights on the pretext of saving him from work which you pretend to consider beneath his dignity, but which is, in fact, the very law of his existence (Monday 16 May 1853).

La musique est la volupté de l'imagination.

We are told that Shakespeare's plays were generally performed in barns and that no great trouble was taken over the production. The constant changes of scene which, incidentally, seem the sign of a decadent art rather than one which is progressing, were shown by placards with the inscription: "A Forest," "A Prison," and so on. Within this conventional setting the onlooker's imagination was free to follow the actions of the various characters who were animated by passions drawn from nature, and that was enough for him. So-called innovations are gratefully seized on as an excuse for poverty of invention and in the same way, the long descriptive passages that so overburden modern novels are a sign of sterility, for it is obviously easier to describe a dress or the outward appearance of an object than to trace the subtle development of a character or portray the emotions of the heart.

They say that each generation inherits from those that have gone before; if this were so there would be no limit to man's improvements or to his power of reaching perfection. But he is very far from receiving intact that storehouse of knowledge which the centuries have piled up before him; he may perfect some inventions, but in others, he lags behind the originators, and a great many inventions have been lost entirely. What he gains on the one hand, he loses on the other.

The artist who aims at perfection in everything achieves it in nothing.

Painting, in the beginning, was a trade like any other. Some men became picture-makers as others became glaziers or carpenters. Painters painted shields, saddles and banners. The primitive painter was more of a craftsman than we are; he learned his trade superlatively well before he thought of letting himself go. The reverse is true today.

Of late, men seem to have been possessed by an incomprehensible impulse to strip themselves of everything with which nature has endowed them in order to make them superior to the beasts of burden. A philosopher is a gentleman who sits down four times a day to the best meals he can possibly obtain, and who considers that virtue, glory and noble sentiments should be indulged in only when they do not interfere with those four indispensable functions and all the rest of his little personal comforts. At this rate, a mule is a better philosopher by far, because in addition to all this he puts up with blows and hardship without complaint.

When all is said and done scholars can do no more than find in nature what is already there.

The pleasure of naming and classifying is the fatal thing about men of learning.

Mythological subjects always new. Modern subjects difficult because of the absence of the nude and the wretchedness of modern costume.

Beavers will invent a new way of building dams before architects accept a new method or a new style in their art (23 August 1854).

One has to see a painter in his own place to get an idea of his worth. I went back there [to Corot's studio, after the official exhibition] and I appreciate in a new light the paintings that I had seen in the Museum and that had struck me as middling.. .He told me to go a bit ahead of myself, abandoning myself to whatever might come; this is how he works most of the time.. .Corot delves deeply into a subject; ideas come to him and he adds while working; it's the right approach.

For his contemporaries, Racine was a romantic, but for every age he is classical, that is to say, he is faultless.