27

Circle of Eugene Delacroix
(French, 1798-1863), probably Pierre Andrieu (1821-1892)

"Study for Orpheus and Eurydice", ca. 1844

oil on canvas
unsigned, stretcher and verso with various labels, including a certificate of authenticity issued by "Bouvard and Laurent, Paris" in 1911, a "Collection H. Bare" tag, "Christie's, New York" stickers, and shipping labels in French and English.
Unframed.
25-3/4" x 34-3/4"

Provenance: As Delacroix: Bouvard and Laurent, Paris, France, 1911; Collection H. Bare, London, U.K., 1922.
As Pierre Andrieu/Circle of Delacroix: Christie's, New York, New York, October 24, 1990, lot 17; Private collection, Chicago, Illinois.

Exhibited: New York, Shepherd Gallery. Nineteenth-Century European Drawings, Paintings and Sculpture. Winter 1979-1980, no. 29.

Notes: This scene bears the keen influence of Eugene Delacroix, the leader of the French Romantic School, whose optical studies of color and expressive brushstroke profoundly shaped future Impressionist works. Trained in the Neoclassical style of Jacques-Louis David by Pierre-Narcisse Guerin, Delacroix ultimately rejected the academic traditions, privileging emotive expressions of color through bold brushstrokes over controlled lines and carefully modeled forms. Though beautifully rendered, classical depictions of historical and mythological scenes invoked a sense of stasis, in which the turmoil of the battle or deluge was lost on the viewer. Inspired by Peter Paul Rubens and the Venetian colorists, Delacroix created a new genre of painting, capturing the primacy of the moment through the rapid application of deep warm colors and exaggerated lighting to convey movement. This painting exemplifies all these qualities, which would explain why it was sold in Paris, London, and exhibited in New York City, as late as 1980, as a veritable work by Delacroix. In 1990, Christie's, New York, offered it at auction for $8,000-$12,000 as a painting by Pierre Andrieu - Delacroix's premier assistant from 1844-1863. Andrieu was such an accomplished artist that he collaborated with Delacroix on paintings, and later copied and restored his work, including the paintings in the library of the Senate in 1868.

"Orpheus and Eurydice", a mythological tale from the ancient Classics that multiple artists depicted throughout the 18th and 19th century, was a subject Delacroix visited many times, as the dramatic flight from Hades showcased his bravura of color and movement. In a rich palette of crimson, sienna and ultramarine blue suffused with light, Delacroix, or his pupil, captures the moment Orpheus leads Eurydice from the dark caves of the Underworld, breaking Hades' edict that he not look back as she follows into the light of the living. The scene also recalls compositional similarities to Delacroix's 1825 illustrations and sketches of Faust, Mephistopheles and the witches on Walpurgis night he created for Goethe's tragic play Faust, which he continued to experiment with throughout the 1820s and early 1830s in works like "Witches Sabbath", ca. 1831-1832. In his 1823 journal, Delacroix wrote in a February entry: "Every time I look at the engravings of Faust, I am seized with a longing to use an entirely new style of painting that would consist, so to speak, in making a literal tracing of nature. The simplest poses could be made interesting by varying the amount of foreshortening." In this painting, the Faustian influence is evident - the upward diagonal composition, executed through heavy brushstrokes and chiaroscuro, is redolent of the mountain ascent/descent, and the exceptional use of foreshortening of the souls in the lower right foreground and background reduces the dead to a shrouded mass.


  • Condition: **Surface dirt, toning of varnish layer. Small areas of inpainting upper mid and lower mid-right. Vertical areas of inpainting mid to lower left; a few areas of inpainting lower right, left and center and upper left. Previously relined. Surface abrasions with paint loss lower right. Lower mid-right area of canvas protrudes with patch en verso, with corresponding areas of inpainting and paint loss. Small surface marks, abrasions and accretions scattered throughout.

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