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“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.”

Eugène Delacroix

9 April 1856 (p. 313)
1831 - 1863, Delacroix' 'Journal' (1847 – 1863)

“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.”

Eugène Delacroix

13 January 1857 (p. 339)
1831 - 1863, Delacroix' 'Journal' (1847 – 1863)

“For a man who is sensitive to nature, happiness consists in expressing nature. How infinitely happy, then, is the man who reflects nature like a mirror without being aware of it, who does the thing for love of it and not from any pretensions to take first place. This noble unself-consciousness is what we find in all truly great men, in the founders of the arts. I picture the great Poussin, in his retreat, delighting in the study of the human heart.... I picture Raphael in the arms of his mistress, turning from La Fornarina to paint his Saint Cecilia.... I am only too well aware that I am far not only from their divine spirit, but even from their modest simplicity…”

Eugène Delacroix

Quote in a letter to Delacroix' friend J. B. Pierret, 23 October 1818, from the Forest of Boixe; as quoted in Eugene Delacroix – selected letters 1813 – 1863, ed. and transl. Jean Stewart, art Works MFA publications, Museum of Fine Art Boston, 2001, p. 43
1815 - 1830

“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.”

Eugène Delacroix

6 April 1856 (p. 312)
1831 - 1863, Delacroix' 'Journal' (1847 – 1863)

“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.”

Eugène Delacroix

25 February 1852 (p. 152)
1831 - 1863, Delacroix' 'Journal' (1847 – 1863)

“The contour should come last, only a very experienced eye can place it rightly.”

Eugène Delacroix

Introduction (p. xxiv)
1815 - 1830, Delacroix' 'Journal' (1822 – 1824)

“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.”

Eugène Delacroix

7 September 1854 (p. 252)
1831 - 1863, Delacroix' 'Journal' (1847 – 1863)

“I am not doing very much as yet. I am put out by this manner of the Salon. They will end by persuading me that I have produced a veritable fiasco. But I am not yet entirely convinced of it. Some say it is a complete downfall; that the 'Death of Sardanaplus' [Delacroix painted this painting in 1827 after the drama, written by Byron] is that of the Romantics, inasmuch as Romantics do exist; others merely say that I am an 'inganno' [a fraud].... So I say they are all imbeciles, that the picture has its qualities and its defects, and that while there are some things I could wish to be better, there are not a few others that I think myself fortunate to have created, and which I wish them.”

Eugène Delacroix

Quote in a letter to Delacroix' friend Charles Soulier, 11 March 1828; as quoted in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, pp. 67-68
1815 - 1830

“I have seen here [in London] a play on Faust, the most diabolic thing imaginable. The Mephistopheles is a masterpiece of caricature and intelligence. It is Goethe's 'Faust', but adapted; the principle features are preserved. They have made it into an opera mixed with comedy and with everything that is most sombre. The scene in the church is given with the priest's chanting and the organ in the distance. Impossible to carry an effect further, in the theater.”

Eugène Delacroix

Quote in a letter (written in London, England) to J. B. Pierret, 18 June 1825; as quoted in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, p. 67
1815 - 1830

“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]”

Eugène Delacroix

Quote in an unpublished letter to Delacroix' brother, 18 October 1830, but mentioned by M. Sérullaz; as quoted in Eugene Delacroix – selected letters 1813 – 1863, ed. and translation Jean Stewart, art Works MFA publications, Museum of Fine Art Boston, 2001, p. 13
1815 - 1830

“I am thinking of painting for the coming Salon a picture [probably the large and unfinished painting 'Botzaris' by Delacroix] whose subject I shall take from the recent wars between the Turks and the Greeks. I think that.... this would be a way to attract some attention. I should therefore like you to send me some drawings of the country round Naples, a few quick sketches of seascapes or picturesque mountain sites… Why not also send a few of the studies you have in your portfolio? You don’t need them while you are out there, and it would oblige you to make some more of them.”

Eugène Delacroix

Quote in his letter to Charles Soulier - 15 September 1821, Paris; as quoted in Eugene Delacroix – selected letters 1813 – 1863, ed. and translation Jean Stewart, art Works MFA publications, Museum of Fine Art Boston, 2001, p. 105
1815 - 1830

“Rubens, when past fifty years of age, used the time he did not give to the business of his mission to the King of Spain in copying the superb Italian originals he found in Madrid... Accuracy of the eye, sureness of the hand, the art of carrying the picture on from the indications of the lay-in to the rounding out of the work, and so many other matters which are all of primary importance, demand application at every moment, and the practice of a lifetime.”

Eugène Delacroix

Quote in Journal of Delacroix, Crown Publishers, New York, pp. 543-544
1831 - 1863

“The so-called conscientiousness of the great majority of painters is nothing but perfection laboriously applied to the art of being boring.”

Eugène Delacroix

25 January 1857 (p. 346)
1831 - 1863, Delacroix' 'Journal' (1847 – 1863)

“.. The movement and the rustle of the branches [in the forest, while losing his attention for chasing] delights me. The clouds float past and I lift my head to follow their flight, or think about some madrigal, when a slight sound, which has been going on for a little while, rouses me slowly from my dream.; at least I turn my head and see, to my grief, a little white scut just disappearing into the thicket…”

Eugène Delacroix

Quote in a letter to Delacroix' friend Achille Peron - 16 September 1819, Paris; as quoted in Eugene Delacroix – selected letters 1813 – 1863, ed. and translation Jean Stewart, art Works MFA publications, Museum of Fine Art Boston, 2001, p. 51
1815 - 1830

“Artists who seek perfection in everything are those who cannot attain it in anything.”

Eugène Delacroix

Les artistes qui cherchent la perfection en tout sont ceux qui ne peuvent l'atteindre en aucune partie.
Quote, 4 March 1858, from Journal de Eugène Delacroix, book 3
1831 - 1863, Delacroix' 'Journal' (1847 – 1863)

“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.”

Eugène Delacroix

29 April 1854 (p. 228)
1831 - 1863, Delacroix' 'Journal' (1847 – 1863)

“I see in painters prose writers and poets. Rhyme, measure, and the turning of verses, which is indispensable and which gives them so much vigor, are analogous to the hidden symmetry, to the equilibrium at once wise and inspired, which governs the meeting or separation of lines and spaces, the echoes of color, etc….. but the beauty of verse does not consist of exactitude in obeying rules... It resides in a thousand secret harmonies and conventions which make up the power of poetry and which go straight to the imagination; in just the same way the happy choice of forms and the right understanding of their relationship act on the imagination in the art of painting.”

Eugène Delacroix

Quote in Delacroix's Journal of 19 September 1847; as cited in Artists on Art – from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 229
1831 - 1863

“They say that truth is naked. I cannot admit this for any but abstract truths; in the arts, all truths are produced by methods which show the hand of the artist.”

Eugène Delacroix

12 October 1859 (p. 388)
1831 - 1863, Delacroix' 'Journal' (1847 – 1863)

“To be like other people is the real condition of happiness. Sea air and diversions are producing this miraculous effect upon me. What you need is just the contrary. You are dying of boredom from what most mortals regard as bliss – having nothing to do. You need the treatment opposite to mine; I am not joking in the very least: one has to be compelled to some task, driven to it: anyone who is not a drunken brute must achieve boredom at all costs unless he can discover the secret of a taste for amusements... These reflections.... are not likely to comfort you, but they will change your frame of mind for a few minutes. I shall probably be back in Paris on Thursday…”

Eugène Delacroix

1831 - 1863
Source: a letter to Madame de Forget, Dieppe, 13 September 1852; as quoted in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, p. 68

“The original idea, the sketch, which is so to speak the egg or embryo of the idea, is usually far from being complete; it contains everything, which is simply a mixing together of all parts. Just the thing that makes of this sketch the essential expression of the idea is not the suppression of details, but their complete subordination to the big lines, which are, before all else, to create the impression. The greatest difficulty therefore is that of returning in the picture to that effacing of the details which, however, make up the composition, the web and the woof of the picture.”

Eugène Delacroix

quote in 1854, in Artists on Art – from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, pp. 234 – 235
1831 - 1863