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Updated: May 2, 2025
The establishment of M. Delacroix, Rue Croix-des Petits Augustins, to remedy the defect of nature by a gymnastic process, is unique in France. I shall give the prospectus a place here; and feeling my inability to do it justice, shall not attempt to translate it.
The year 1830 has given its name to that brilliant generation of poets, novelists, painters and philosophers which, as Théophile Gautier says with just pride, "will make its mark on the future and be spoken of as one of the climacteric epochs of the human mind." The revolution of July inspired Delacroix with one of his most interesting pictures.
The "Dialogue avec Delacroix" is instructive; two curious pages on what he thought of father Ingres. I am not entirely of your opinion as regards the punctuation. That is to say that I would shock you by my exaggeration in that respect; but I do not lack, naturally, good reasons to defend my point of view. "J'allume le fagot," etc., all of this long article charmed me.
General Delacroix used that example to me in March, but it was not until June that General Joffre was ready to adopt it. By this time it was well established in all minds. Gettysburg had been the final effort of the South to win a decision on the field while superior organization gave her advantage over a foe that had superiority in ultimate resources, both of money and men.
He offended the pedants and the formalists by his daring originality, he had secured the hate of rival musicians by the vigor and keenness of his criticisms. Berlioz was in the very heat of the artistic controversy between the classicists and romanticists, and was associated with Victor Hugo, Alexandre Dumas, Delacroix, Liszt, Chopin, and others, in fighting that acrimonious art-battle.
But quite aside from the group of poetic painters which stamped its impress so deeply upon the romantic movement at the outset, that to this day it is Delacroix and Millet, Decamps and Corot whom we think of when we think of the movement itself, the classic tradition was preserved all through the period of greatest stress and least conformity by painters of great distinction, who, working under the romantic inspiration and more or less according to what may be called romantic methods, nevertheless possessed the classic temperament in so eminent a degree that to us their work seems hardly less academic than that of the Revolution and the Empire.
Whoever beholds a work of Manet's, even without knowing the conditions of his life, will feel that there is something great, the lion's claw which Delacroix had recognised as far back as 1861, and to which, it is said, even the great Ingres had paid homage on the jury which examined with disgust the Guitarero.
George Sand cut off all her hair and gave it to Musset, so eager was she to keep him as a matter of conquest; but he was tired of her, and even this theatrical trick was of no avail. She proceeded to other less known and less humiliating adventures. She tried to fascinate the artist Delacroix. She set her cap at Franz Liszt, who rather astonished her by saying that only God was worthy to be loved.
"Raphael and Michael Angelo" is as clever a picture as can be clever is just the word the groups and drawing excellent, the coloring pleasantly bright and gaudy; and the French students study it incessantly; there are a dozen who copy it for one who copies Delacroix.
When, on October 28, 1849, a few days after Chopin's death, Delacroix sent a friend a ticket for the funeral service of the deceased, he speaks of him as "my poor and dear Chopin." With whom shall I speak of the incomparable genius whom heaven has envied the earth, and of whom I dream often, being no longer able to see him in this world nor to hear his divine harmonies.
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