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In 1832, Eugene Delacroix accompanied a French diplomatic mission
to Morocco, the first leg of a journey through the Maghreb and
Andalusia that left an indelible impression on the painter. This
comprehensive, annotated English-language translation of his notes
and essays about this formative trip makes available a classic
example of travel writing about the "Orient" from the era and
provides a unique picture of the region against the backdrop of the
French conquest of Algeria. Delacroix's travels in Morocco,
Algeria, and southern Spain led him to discover a culture about
which he had held only imperfect and stereotypical ideas and
provided a rich store of images that fed his imagination forever
after. He wrote extensively about these experiences in several
stunningly beautiful notebooks, noting the places he visited,
routes he followed, scenes he observed, and people he encountered.
Later, Delacroix wrote two articles about the trip, "A Jewish
Wedding in Morocco" and the recently discovered "Memories of a
Visit to Morocco," in which he shared these extraordinary
experiences, revealing how deeply influential the trip was to his
art and career. Never before translated into English, Journey to
the Maghreb and Andalusia, 1832 includes Delacroix's two articles,
four previously known travel notebooks, fragments of two
additional, recently discovered notebooks, and numerous notes and
drafts. Michele Hannoosh supplements these with an insightful
introduction, full critical notes, appendices, and biographies,
creating an essential volume for scholars and readers interested in
Delacroix, French art history, Northern Africa, and
nineteenth-century travel and culture.
This groundbreaking publication centers on a previously unknown
variation of Eugene Delacroix's (1798-1863) dramatic masterpiece
The Last Words of the Emperor Marcus Aurelius, published here for
the first time. This book offers a compelling reassessment of the
relationship of the artist, widely considered a primary exemplar of
Romanticism, to Neoclassical themes, as demonstrated by his
life-long fascination with the death of Marcus Aurelius. Through
this investigation, the authors reinterpret Delacroix's lineage to
such fellow artists as Jean-Auguste Dominique Ingres (1780-1867)
and Jacques-Louis David (1748-1825). Playing on the various
interpretations of the word "finish," the book also offers a
fascinating account of Delacroix's famously troubled collaboration
with his studio assistants, his conflicted feelings about pedagogy,
and his preoccupation with the fate of civilizations. Distributed
for the Santa Barbara Museum of Art Exhibition Schedule: Santa
Barbara Museum of Art (10/27/13-01/26/14)
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