Eugène Delacroix Quotes

Proportion applies to sculpture as to painting; perspective determines the contour; chiaroscuro gives relief through the disposition of lights and shadows in their relationship with the background; color gives the appearance of life.. .The colorists, the men who unite all the phases of painting, have to establish, at once and from the beginning, everything that is proper and essential to their art. They have to mass things in with color, even as the sculptor does with clay, marble or stone; their sketch, like that of the sculptor, must also render proportion, perspective effect, and color.

Nature is just a dictionary, you hunt in it for words.. ..you find in it the elements which make a phrase or a story; but nobody would regard a dictionary as a composition in the poetic sense of the term. Besides, nature is far from being always interesting from the point of view of the effect of the whole.. .If each detail is perfect in some way, the union of these details seldom gives an effect equivalent to that which arises, in the work of a great artist, from the total composition.

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

Human beings are so strangely constructed that they often find consolation and even happiness in misfortune (for instance, when ones is unjustly persecuted, the comfort of knowing that one deserves a better fate), but it far more happens that a man will be bored by prosperity and even think himself supremely miserable (19 July 1854).

Even when we look at nature, our imagination constructs the picture. (1 September 1859)

He is like everyone else, a compound of strange and inexplicable contrasts, and this is what the writers of novels and plays will never understand; they make their characters all of a piece. But people are not like that. There may be ten different people in one man, and sometimes all ten appear within a single hour (Wednesday 7 December 1853).

In every art we are always obliged to return to the accepted means of expression, the conventional language of the art. What is a black-and-white drawing but a convention to which the beholder has become so accustomed that with his mind's eye he sees a complete equivalent in the translation from nature?

Commonplace people have an answer for everything and nothing ever surprises them. They try to look as though they knew what you were about to say better than you did yourself, and when it is their turn to speak, they repeat with great assurance something that they have heard other people say, as though it were their own invention.

I have started work on a modern subject, a scene on the barricades.. .I may not have fought for my country but at least I shall have painted for her.. [quote is referring to his famous painting 'Liberty Leading the People', 1830]

I saw a procession of ants moving along the path in a way which I challenge any naturalist to explain. The entire tribe seemed to be moving in formation as if they were emigrating, with a few worker-ants going along the column in the opposite direction. Where could they have been going?
We are all shut up together higgledy-piggledy, animals, men, and plants, in this vast box they call the universe. We claim to be able to read the stars and to make conjectures about the past and the future, which are both beyond the range of our vision, and yet we understand nothing of the things in front of our eyes. (Tuesday 30 April 1850).

Fine works of art would never become dated if they contained nothing but genuine feeling. The language of the emotions and the impulses of the human heart never change (26 March 1854).

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.

Draftsmen may be made, but colorists are born.

Is it not very clear that progress, that is to say, the onward march of all things, good as well as evil, has brought our civilization to the brink of an abyss into which it may possibly fall, giving place to utter barbarism? And the reason for this…is it not to be found in the law that dominates all others here below, the need for change in some form or other? We must change. (Monday 23 April 1849)

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