The document summarizes the rivalry between Jean Auguste Dominique Ingres and Eugene Delacroix, the two leading 19th century French artists who represented the schools of Neoclassicism and Romanticism. Ingres was known for his precise lines and cool colors, while Delacroix embraced passion and spontaneity in his bravura use of color. Their competing philosophies and styles were exemplified in Ingres' orderly Apotheosis of Homer and Delacroix's chaotic Death of Sardanapalus, which depicted a scene of violence rather than noble virtue.

1. Romanticism in France
Ingres and Delacroix

2. The leading figures in 19th century French art were Jean Auguste Dominique Ingres
and Eugene Delacroix

3. Each represented the rival schools of Neoclassicism and Romanticism, as seen in
this 19th century caricature depicting the two artists jousting in front of the Institut de
France
Ingres: champion
of line
Delacroix:
champion of color

4. A pupil of Jacques Louis David, Ingres was the leading exponent of Neoclassicism,
and was renowned as the champion of crisp line and contour, as indicated by the
fine tipped pen that he wields as his weapon
Ingres: champion
of line

5. Delacroix was the leading representative of Romanticism, and was known for his
bravura use of color and painterly effects, indicated by the paint brush that he carries
as his weapon
Delacroix:
champion of color

6. The rivalry between these two giants of the 19th century Academy replayed the 17th
century academic debate between the Poussinistes (who favored drawing and
design) and the Rubenistes (who favored color)
Delacroix:
champion of color
Ingres: champion
of line

7. Jean-Auguste-Dominique Ingres, Apotheosis of Homer, 1827
Louvre
This painting by Ingres was submitted to the Salon of 1827, and was a kind of
manifesto of Neoclassicism

8. Jean-Auguste-Dominique Ingres, Apotheosis of Homer, 1827
Louvre
Based on Raphael’s School of Athens, the painting depicts the Greek poet Homer
enthroned before a Greek Classical temple

9. Jean-Auguste-Dominique Ingres, Apotheosis of Homer, 1827
Louvre
Allegorical figures representing his two great works, The Odyssey and The Iliad are
seated beneath his throne, symmetrically arranged like mirrored images of one
another

10. Jean-Auguste-Dominique Ingres, Apotheosis of Homer, 1827
Louvre
The blind poet is crowned by a winged Nike, and he is surrounded by famous artists
and writers from history, who acknowledge his great achievement

11. Jean-Auguste-Dominique Ingres, Apotheosis of Homer, 1827
Louvre
Amongst them are Phidias, Michelangelo, and Poussin
Phidias
Michelangelo
Poussin

12. Jean-Auguste-Dominique Ingres, Apotheosis of Homer, 1827
Louvre
Symmetrical, ordered, and balanced, the picture is a tribute to the rational values of
the classical tradition

13. Jean Auguste Dominique Ingres, Self Portrait at Age 24, 1804; revised 1850
Musée Condé
Ingres’ chief rival in the 19th century French Academy was Eugene Delacroix, who
rejected the values of Neoclassicism (an entry in his diary reads: “I dislike
reasonable painting.”)
Eugene Delacroix, Self Portrait, 1837
Musée du Louvre, Paris

14. Jean Auguste Dominique Ingres, Self Portrait at Age 24, 1804; revised 1850
Musée Condé
While Ingres’ style is slick, polished, and reserved (his teacher Jacques Louis
David told his students: “never let your brushwork show”), Delacroix’s style is
loose, spontaneous, and impetuous, expressing an unrestrained passion that
contrasts with Ingres’ cool Neoclassical style
Eugene Delacroix, Self Portrait, 1837
Musée du Louvre, Paris

15. Jean Auguste Dominique Ingres, Self Portrait at Age 24, 1804; revised 1850
Musée Condé
While Ingres painted with precision and calculation, Delacroix painted with passion
and spontaneity
Eugene Delacroix, Self Portrait, 1837
Musée du Louvre, Paris
I paint with
my heart
I paint with
my head

16. Delacroix’s Death of Sardanapalus, painted in 1826, is a classic example of
Romanticism

17. The painting is based on a story recounted by an ancient Greek historian about an
Assyrian King whose city was under siege by an enemy army

18. Rather than suffer the humility of defeat, he orders his soldiers to slaughter his
horses and his concubines, before setting himself on fire

19. The scene is one of chaotic violence, as naked bodies and horses struggle to
escape their fate

20. The sadistic king reclines impassively on a massive bed, decorated at the corners
by carved elephant heads

21. His decadent taste for luxuries is evident in the splendor of his surroundings, and
the heavy jewelry worn by his concubines (in fact, the king himself wears rings on
every toe!)

22. Jean-Auguste-Dominique Ingres, Apotheosis of Homer, 1827
Louvre
Unlike Ingres’ Apotheosis of Homer (which was exhibited at the same Salon)
Delacroix’s picture does not pay tribute to a noble hero

23. Instead, it depicts a scene of sadistic violence and passion, betraying a morbid
fascination with human depravity rather than noble virtue

24. The style is also dramatically different

25. Jean-Auguste-Dominique Ingres, Apotheosis of Homer, 1827
Louvre
While Ingres’ work is balanced and restrained, with clear even lighting, cool colors,
and crisp outlines

26. Delacroix’s painting is chaotically arranged, with swirling bodies, and a strong
diagonal that rushes headlong into space

27. And in contrast to Ingres’ precisely rendered figures, Delacroix’s style is loose,
sketchy, and impetuous – as if painted quickly, and with passion

28. The colors, too, are rich, lush, and fiery, rather than cool and detached, providing a
visual equivalent to the dark passions of the theme

29. Delacroix’s use of color was influenced by Rubens, and by the Venetian masters of
the Renaissance, but it was also informed by new scientific theories about the
properties of color, as seen in this color wheel from a book that belonged to the
artist

30. The diagram shows primary and secondary colors, with their complimentary colors
at the other end of the axis

31. Color theory teaches us that complementary colors intensify one another – a red
against a green, or a blue against an orange, makes the colors pop with an
intensity they would not have against a different background

32. Delacroix used this understanding of color extensively in his paintings, as in this
detail where we see a green sash draped haphazardly across the king’s bed

33. The complimentary colors intensify one another, making the colors literally “pop,”
and adding to the overall drama of the picture the picture

34. Neoclassicism Romanticism
The contrast between these two works sums up the competing values of
Neoclassicism and Romanticism

35. Neoclassicism Romanticism
Emphasis on reason and virtue  Emphasis on feelings, emotion –
“human nature,” which is not always
virtuous or noble

36. Neoclassicism Romanticism
Style: painted with the “head”
Smooth finish
Balanced, ordered, harmonious
Style: painted with the “heart”
 Loose, sketchy brushstroke
 Expressive color, dynamic
composition, dramatic lighting

37. Neoclassicism Romanticism
Subject Matter
Historical
Exemplars of virtue
Subject Matter
 Themes from literature & the
imagination
 Exotic people & places
 Horrific events

38. I recommend that you watch this video on Delacroix’s use of color, from the
National Gallery of Art, London