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Encyclopedia Britannica - Main :: DAH-DEM |
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DELAROCHE, HIPPOLYTE , commonly known as PAUL (1797-1856), French painter, was born in Paris on the 17th of July 1797. His father was an expert who had made a fortune, to some extent, by negotiating and cataloguing, buying and selling. He was proud of his son's talent, and able to forward his artistic education. The master selected was Gros, then painting life-size histories, and surrounded by many pupils. In no haste to make an appearance in the Salon, his first exhibited picture was a large one, Josabeth saving Joas " (1822). This picture led to his acquaintance with Gericault and Delacroix, with whom he remained on the most friendly terms, the three forming the central group of a numerous body of historical painters, such as perhaps never before lived in one locality and at one time. From 1822 the record of his life is to be found in the successive works coming from his hand. He visited Italy in 1838 and 1843, when his father-in-law, Horace Vernet, was director of the French Academy. His studio in Paris was in the rue Mazarine, where he never spent a day without some good result, his hand being sure and his knowledge great. His subjects, definitely expressed and popular in their manner of treatment, illustrating certain views of history dear to partisans, yet romantic in their general interest
Leopold Robert and Ingres, was the manner of the day. It repudiates the technical charm of texture and variety of handling which the English school inherited as a tradition from the time of Reynolds; but it is more easily under-stood by the world at large, since a picture so executed depends for its interest
touch , is sensational; while the "Execution of Lady Jane Grey" is represented as taking place in a dungeon. Nothing can be more incorrect than this last as a reading of English history, yet we forget the inaccuracy in admiration of the treatment which represents Lady Jane, with bandaged sight, feeling for the block
Martyr
Angel
Horace Vernet's young daughter Louise, his love for whom was the absorbing passion of his life, and from the shock of whose death, in 1845, it is said he never quite recovered. By far his finest productions after her death are of the most serious character, a sequence of small elaborate pictures of incidents in the Passion. Two of these, the Virgin and the other Maries, with the apostles Peter and John, within a nearly dark apartment,8 hearing the crowd as it passes haling Christ to Calvary, and St John conducting the Virgin home again after all is over, are beyond all praise as exhibiting the divine story from a simply human point of view. They are pure and elevated, and also dramatic and painful. Delaroche was not troubled by ideals, and had no affectation of them. His sound but hard execution allowed no mystery to intervene between him and his motif, which was always intelligible to the million, so that he escaped all the waste of energy that painters who try to be poets on canvas suffer. Thus it is that essentially the same treatment was applied by him to the characters of distant historical times, the founders of the Christian religion, and the real people of his own day, such as " Napoleon at Fontainebleau," or " Napoleon at St Helena," or " Marie Antoinette leaving the Convention " after her sentence. In 1837 Delaroche received the commission for the great picture, 27 metres long, in the hemicycle of the lecture theatre of the Ecole des Beaux Arts. This represents the great artists of the modern ages assembled in groups on either hand of a central elevation
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Personally Delaroche exercised even a greater influence than by his works. Though short and not powerfully made, he impressed every one as rather tall than otherwise; his physiognomy was accentuated and firm, and his fine forehead gave him the air of a minister of state. See Rees, Delaroche (London, 188o). (W. B. Sc.) End of Article: DELAROCHE, HIPPOLYTE If you wish, you can link directly to this article.
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