The Formal Analysis of Liberty Leading the People by...

The Formal Analysis of Liberty Leading the People by Eugene Delacroix Ferdinand Victor Eugene Delacroix was born on April 26, 1798. Delacroix was the son of Charles Delacroix and Victoire Oeben. His father served for a short period of time as a minister of foreign affairs. At the time of Delacroix’s birth his father was on a mission to Holland as ambassador of the French Republic. Delacroix’s mother was a descended of artisans and craftsmen. His parents both died early. His father died in 1805 and his mother in 1814. After his mothers death he was left in the care of his older sister, Henriette de Verninac. When Delacroix was at the age of seventeen, in 1815, he began to take painting lessons from Pierre Guerin. While there he†¦show more content†¦Another emphasis is on emotion rather than reason. Romantic artists had the love of the exotic and fantastic. They explored the extremes. Dream worlds were invented. Dreams were commonly the source of inspiration. The feeling of many Romantic artists is nationalism. Mystical attachment to the world is what Romantic painters had. Landscapes and seascapes is what painters turned to. Featured were natural phenomena and storms. They focused on real nature rather than enlightenment. Delacroix and his friend also a painter, Eugene Lami, went out to watch the fighting. The fighting erupted not far from his studio. Delacroix wrote to his brother (a general) â€Å"Since I have not fought and conquered for the fatherland I can at least paint on its behalf.† That’s why he painted Liberty Leading the People. Delacroix had no similarity for politics. His attitude toward social reform was intrinsically detached and laisseiz-faire. Nevertheless, his attention was compelled by the political crisis in France. Everyone’s concern had become politics. Liberty Leading the People is sort of a political poster. It marks the day when the people rose and dethroned the Bourbon King. The new king Louis Philippe bought Liberty Leading the People but never exhibited it. King Philippe bought the work of art for 3,000 francs. It remained in storage for eighteen years. It was brought out in 1848. The government of