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Showing posts from December, 2018

Delacroix, by Paul G. Konody

TODAY, as one examines the ten masterpieces by Delacroix in the Salle des Etats at the Louvre — ten pictures which may without fear of contradiction be asserted to form an epitome of the art of the man who is now generally acknowledged to be the fountain- head of all modern ' art — one can only with difficulty understand the bitter hostility, the fierce passion, aroused by these works when Delacroix’s name was the battle-cry of the moderns, when Delacroix was the leader of the numerically small faction which waged heroic war against the inexorable tyrannic rule of academic art. What was once considered extreme and revolutionary, has become what might almost be described as a classic basis of a revaluation of aesthetic values. Even Manet’s “Olympia,” the starting-point of a more recent artistic upheaval, a picture which on its first appearance at the Paris Salon of 1865 was received with wild howls of execration, now falls into line at the Louvre with the other great masterpieces o…