- circa 1860
- Media category
- Materials used
- oil on canvas
- 81.0 x 65.1 cm stretcher; 105.5 x 88.5 x 11.5 cm frame
- Signature & date
Not signed. Not dated.
- Purchased with assistance from the Art Gallery Society of New South Wales 1996
- 19th & 20th c European art
- Accession number
- Artist information
Works in the collection
Representing a romantic prelude to certain aspects of impressionist technique, this composition from the inestimable Delacroix has a special place in the collection. It links the formidable tradition of history painting to the subtler project of modernity. Here is an object less for instruction than delectation. Almost athletic in handling, the paint is applied in speedy flourishes typical of Delacroix's late manner. Though the works of his youth and maturity were frequently large in scale, he produced smaller easel paintings and sketches throughout his career. 'Angelica and the wounded Medoro' is a literary subject he tackled more than once, though rarely with the freedom and spontaneity of this version. Like Picasso, Delacroix was a ceaseless re-inventor of his own forms, which reflected his inner state at any given time.
AGNSW Handbook, 1999.
Shown in 14 exhibitions
Boulevard des Italiens, Exhibition Venue Unknown, 1864–1864
Exposition d'une Collection Particulière, Galerie Georges Petit, Paris, 1885–1885
Unknown, Basel, Exhibition Venue Unknown, 1921–1921
Exposition Eugène Delacroix, Louvre, 1930–1930
Unknown, Zurich, Exhibition Venue Unknown, 1939–1939
Eugène Delacroix, Wildenstein & Co., New York, 1944–1944
Delacroix: A Loan Exhibition, Phillips Memorial Gallery, 1945–1945
Between the Empires, Fogg Museum, Cambridge, 1946–1946
Pictures Collected by Yale Alumni, Yale University Art Gallery, United States of America, 1956–1956
Masters of Seven Centuries, Wildenstein & Co., New York, 1962–1962
Romantics and Realists, Wildenstein & Co., New York, 1966–1966
(Baroque Festival), Tasmanian Museum and Art Gallery, Hobart, 05 Apr 2014–05 Jun 2014
Unknown, Ecole des Beaux-Arts, École nationale supérieure des beaux-arts, Paris, Unknown–Unknown
Referenced in 21 publications
Richard Beresford', Look: 1953-2003 celebrating 50 years, 'Transformation: Society's gifts of enriching art from Europe help collection turnaround', pg.45-7, Sydney, May 2003, 46 (colour illus.), 47.
P Courthion, L'Amour de l'Art VII, 1926, 37, 38 (illus.).
Raymond Escholier, Delacroix, peintre, graveur, écrivain, Paris, 1926, 155.
L Hourticq, Delacroix, l'oeuvre de maître, 1930, 135 (illus.).
Rene Huyghe, Delacroix, London, 1963, 482, 492 (illus.). plate no. 370
Bruce James, Art Gallery of New South Wales handbook, 'Western Collection: Paintings and Sculpture', pg. 17-77, Sydney, 1999, 37 (colour illus.).
Lee Johnson, The Paintings of Eugène Delacroix: a critical catalogue, Oxford, 1986, 154 (Vol. III, no. 383), 156 (illus. vol. IV).
A Joubin (Editor), Journal de Eugène Delacroix: avant-propos de J.L. Vaudoyer, Paris, 1932, 402.
Courtney Kidd, Viewpoints: visual arts case studies, 'A luscious celebration of self', pg. 50-60, Port Melbourne, 1998, 53 (illus.). fig.no. 6.3
E. Lambert., BSHAF, 'Une scène de `Roland Furieux' traitée par Delacroix', 1936, 148.
Andre Malraux, Les voix du silence, Paris, 1951, 112 (illus.).
Julius Meier-Graefe, Eugène Delacroix, Munich, 1922, 189 (illus.).
Peter Raissis, Look, 'Society gift', pg. 20-21, Heidelberg, Dec 1996-Jan 1997, 21 (colour illus.).
Peter Raissis, Look, 'Rehanging the Old Courts', pg. 9, Heidelberg, Mar 1997, 3, 9.
Alfred Robaut and Ernest Chesneau, L'Oeuvre complet et Eugène Delacroix: paintures, dessins, gravures, lithographies, Paris, 1885, 309.
G Rouchès, Mélanges de philologie, d'histoire et de littérature offerts à Henri Hauvette, Switzerland, 1934, 602.
Wendy Symonds (Editor), Look, 'Close-Ups of the Collection', pg. 6, Heidelberg, Aug 1997, 6 (illus.).
Judith White, art lovers: the story of the Art Gallery Society of New South Wales 1953-2013, Sydney, 2013, pp 115, 254, col illus p 255. 'Chapter 5: Be part of the art 1988-2000' by Judith White, pp 111–38; 'Acquisitions funded by the Art Gallery Society 1953–2013', pp 192–314.
Author Unknown, Der Cicerone, 1912, 240.
Editor Unknown (Editor), La Renaissance, Aug 1923, 468 (illus.).
Editor Unknown (Editor), Magzine of Art, Washington D.C., Dec 1944, 282 (illus.).
M Carvalho, post 17 Feb 1864, Paris/France, Acquired from the estate of the artist, sale Hotel Drouot, Paris, 17 February 1864, lot no.123
Charles Daubigny, 1873, France
Jean Dollfus, pre 02 Mar 1912, Paris/France, sold Galerie Georges Petit, Paris, Dollfus sale, 1-2 March 1912, lot no. 28
Hessel, post 02 Mar 1912, Probably the dealer Joseph Hessel, Paris
Alfred Savoir, post 02 Mar 1912, dates unknown, after Hessel and before Emil Staub
Emil Staub, 1921-1930, Männendorf/Switzerland, In the collection of Mr Emil Staub 1921. The painting passed by descent to his wife in 1930 who held it until 1939 where it then passed by descent to Mrs Staub-Terlinden.
Mrs Emil Staub, 1930-1939, Männendorf/Switzerland
Mrs Staub-Terlinden, 1939-circa 1945, Männendorf/Switzerland, by descent from Mrs Emil Staub
Mrs Madison H Lewis, 1962, New York/United States of America
Mrs W. Leicester van Leer, 1981, New York/United States of America
Richard L Feigen & Co Inc., pre Aug 1996, New York/New York/United States of America, Purchased by the AGNSW from Robert L Feigen & Co Inc. 1996
Other works by Eugène Delacroix
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