Eugène Delacroix Quotes

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

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

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?

He Titian is the least mannered and consequently the most varied of artists. Mannered talents have but one bias, one usage only. They are more apt to follow the impulse of the hand than to control it. Those that are less mannered must be more varied, for they continually respond to genuine emotion.

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.

We should not allow ourselves to believe that writers like Poe have more imagination than those who are content with describing things as they really are. It is surely easier to invent striking situations in this way than to tread the beaten track which intelligent minds have followed throughout the centuries.

Delsarte tells me that Mozart stole outrageously from Galuppi, in the same way, I suppose, that Molière stole from anybody anywhere, if he found something work taking. I said that what was Mozart had not been stolen from Galuppi, or from anyone else for that matter.

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.

Perfect beauty implies perfect simplicity, a quality that at first sight does not arouse the emotions which we feel before gigantic works, objects whose very disproportion constitutes an element of beauty.

The more I think about colour, the more convinced I become that this reflected half-tint is the principle that must predominate, because it is this that gives the true tone, the tone that constitutes the value, the thing that matters in giving life and character to the object. Light, to which the schools teach us to attach equal importance and which they place on the canvas at the same time as the half-tint and shadow, is really only an accident. Without grasping this principle, one cannot understand true colour, I mean the colour that gives the feeling of thickness and depth and of that essential difference that distinguishes one object from another.

Can any man say with certainty that he was happy at a particular moment of time which he remembers as being delightful? Remembering it certainly makes him happy, because he realizes how happy he could have been, but at the actual moment when the alleged happiness was occurring, did he really feel happy? He was like a man owning a piece of ground in which, unknown to himself, a treasure lay buried.

The landscape [in the painting 'The Bathers', 1853, by Courbet ] is of an extraordinary vigor, but Courbet has done no more than enlarge a study exhibited there, near his large canvas; the conclusion is that the figures [the two bathers in the painting] were put in afterwards and without connection with their surroundings. This brings up the question of harmony between the accessories and the principal object, a thing lacking in the majority of great painters, [15 April 1853]

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.

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.

I believe it safe to say that all progress must lead, not to further progress, but finally to the negation of progress, a return to the point of departure.