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378:, in his first Salon criticism, praised all the details in the picture: Ovid ("what noble elegance!"); the mare ("what color and air around it!"); the dog, which made him think of classical sculpture; the water ("a strange beauty"); and, above all, the landscape. In the catalog, by Delacroix himself, was written: "Some examine him with interest, others go home and offer wild fruit and mare's milk, etc., etc."
301:, walking or standing still – a child, an old man, a nursling in its mother's arms, soldiers, resting shepherds. And, dolefully stretched out on a gentle incline, swathed in drapery, lies the figure identified by the painting's title as Ovid. He appears like a fallen meteorite on whom converge the friendly but startled inhabitants of this savage country. Delacroix has given him the pose of a
393:
but a completed version which develops many elements of the London work. Delacroix painted it with more vivid colors, replaced the barbarian with a shield on the back by a woman bringing food, and also closely integrated the figures and landscape in a manner that is more in keeping with a historical
363:
was the author of the harshest criticism, calling the painting "a spectacle of irremissible decadence" and advising the painter "to return to the literary works that he loves and to the music for which he was certainly born". Baudelaire, in his last Salon criticism, called the painting "one of these
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Low but sometimes steep mountains covered with scrubby vegetation surround a still, shallow lake, boggy at its edges; scattered huts built precariously of wood and thatch suggest a pastoral and nomadic culture. In the foreground a man milks a large mare; behind him, various figures are casually
496:. III, X, 5. The poet regrets the place of his exile in the whole poem. After all, no one understood his language (III. 11. 9–10, III. 14. 37–40, V. 10. 35–36), and when they heard Latin words they laugh (10. 37–38). Ovid also complains about constant wars (III. 10. 53–70, V. 10. 21–26;
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of 1859, the last in which
Delacroix participated. The composition reinterprets ideas that Delacroix had previously used in decorative compositions such as
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and rectified the problems of scale of the first version, which had an unusual composition and strange scale of the characters, provoking negative
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amazing works" and said that "Delacroix knows the design and painting". He also wrote a long essay on the life of an exiled poet and quoted
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people, the 1859 picture show the
Scythians treating the poet with sympathy and curiosity, and is a fine treatment of the theme of
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and are very well portrayed in these two paintings by
Delacroix. The second version, contrary to what one might think, is not an
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landscape. It was painted a year before his death, in 1862, most probably for a private collector. It was given to
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http://www.nationalgalleryimages.co.uk/search.aspx?q=DELACROIX,+Eug%C3%A8ne&mode=artist&frm=1
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553:(The Burlington Magazine Publications, Ltd.), Vol. 137, No. 1111 (Oct., 1995), pp. 682–683.
502:. I. 2. 13–14) and the harsh climate, with cold, snow and ice (III. 8. 27–32, V. 2. 63–66;
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The simplest of signs: Victor Hugo and the language of images in France, 1850–1950
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Delacroix painted this subject first in 1844 as part of the decorations for the
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87.6 cm Ă— 130.2 cm (34.5 in Ă— 51.3 in)
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32.1 cm Ă— 50.2 cm (12.6 in Ă— 19.8 in)
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767:. The 1862 version on the Metropolitan Museum of Art's official website
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Rebels and martyrs: the image of the artist in the nineteenth century
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A View to a Death in the
Morning: Hunting and Nature Through History
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759:. The 1859 version on the National Gallery's official website
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to evoke "the landscape, its solitude, its calm charm".
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with its mountains was "universally" praised, while the
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Eugène
Delacroix, 1798–1863: the prince of romanticism
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549:Henri Loyrette, "Delacroix's 'Ovid in exile'" In:
422:"Recent Acquisitions, A Selection: 2007–2008," in
347:in the foreground was thought strange by some.
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280:However, with its cultured man standing before
704:, Harvard University Press, 1996, pp. 118–19.
628:(University of Delaware Press, 2004), p. 127.
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336:The Entry of the Crusaders in Constantinople
1386:Paintings in the Metropolitan Museum of Art
1070:Portrait of Frédéric Chopin and George Sand
668:Paris, 1859 Salon, no. 822. Also quoted by
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402:, in 2008. According to the art historian
176:, even among Delacroix's admirers such as
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1381:Paintings in the National Gallery, London
1086:Last Words of the Emperor Marcus Aurelius
160:is the title of two oil paintings by the
1078:Entry of the Crusaders in Constantinople
918:Louis d'Orléans Showing Off His Mistress
910:The Execution of the Doge Marino Faliero
1038:The Battle of Taillebourg, 21 July 1242
737:" (March 14, 2008), by Carol Vogel. In
609:Curiosités esthétiques: Salon 1845–1859
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1261:Charles Maurice de Talleyrand-PĂ©rigord
676:(Yale University Press, 2006), p. 18.
990:Cromwell with the Coffin of Charles I
974:A Young Tiger Playing with Its Mother
339:. At the time of its exhibition, the
7:
735:Drawing Center Won’t Move to Seaport
564:Les Peintres français, Salon de 1859
273:"; Ovid himself called them a "wild
1241:Charles-François Delacroix (father)
902:The Combat of the Giaour and Hassan
259:whose way of life was described by
926:Portrait of Louis-Auguste Schwiter
894:Greece on the Ruins of Missolonghi
879:Horse Frightened by a Thunderstorm
451:Women and politics in ancient Rome
14:
1256:Jean-François Oeben (grandfather)
1246:Charles-Henri Delacroix (brother)
958:The Murder of the Bishop of Liège
16:Two paintings by Eugène Delacroix
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1172:Arab Horses Fighting in a Stable
1118:Christ Asleep during the Tempest
741:. Consulted on January 19, 2010.
1312:Musée national Eugène Delacroix
611:(M. LĂ©vy, 1868), Original from
1251:Henriette de Verninac (sister)
657:Les 14 statins de Salon – 1859
424:The Metropolitan Museum of Art
207:. They depict the life of the
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353:la femelle du cheval de Troie
203:, in a painting there titled
522:(Taschen, 2000), pp. 81–82.
429:, v. 66, no. 2 (Fall, 2008).
1361:Cultural depictions of Ovid
856:Orphan Girl at the Cemetery
453:(Routledge, 1992), p. 119.
288:confronted with barbarity.
231:, in what was then part of
184:, although artists such as
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1054:Convulsionists of Tangiers
1046:The KaĂŻd, A Moroccan Chief
966:Liberty Leading the People
950:Cromwell at Windsor Castle
848:Head of an Old Greek Woman
506:I. 2. 23–26, I. 3. 45–50).
396:Metropolitan Museum of Art
144:Metropolitan Museum of Art
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942:The Death of Sardanapalus
330:The Death of Sardanapalus
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1281:Richard Parkes Bonington
1164:Ovid Among the Scythians
1102:The Abduction of Rebecca
817:The Entombment of Christ
764:Ovid among the Scythians
756:Ovid among the Scythians
398:, New York, in honor of
157:Ovid Among the Scythians
90:Ovid Among the Scythians
22:Ovid Among the Scythians
1401:Oil on canvas paintings
1266:Henri-François Riesener
1133:Lion Devouring a Rabbit
934:Woman Stroking a Parrot
551:The Burlington Magazine
188:were deeply impressed.
1296:Pierre-Narcisse Guérin
1180:Horses Leaving the Sea
724:, Paris, 1997, p. 268.
400:Philippe de Montebello
313:The first version was
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235:and is now south-east
205:Ovid Chez Les Barbares
195:of the Library of the
1188:Tiger with a Tortoise
1113:(pre-1849, 1843–1849)
1094:The Sultan of Morocco
871:The Massacre at Chios
659:, Paris , pp. 260–61.
385:were key concepts in
381:The wildness and the
324:The Massacre at Chios
624:Timothy Bell Raser,
383:misunderstood genius
355:("the female of the
1333:Homage to Delacroix
1271:Jean-Henri Riesener
1110:The Bride of Abydos
1030:Christ on the Cross
1006:Arab Rider Charging
982:The Battle of Nancy
825:The Barque of Dante
720:Barthélémy Jobert,
449:Richard A. Bauman,
1340:Delacroix (crater)
1276:Théodore Géricault
905:(1826, 1835, 1856)
605:Charles Baudelaire
577:Exposition de 1859
248:Epistulae ex Ponto
178:Charles Baudelaire
1348:
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1062:Warrior by a Tomb
1017:(1834, 1847–1849)
833:Mademoiselle Rose
690:978-1-85709-346-9
670:Alexander Sturgis
642:978-0-87413-867-2
613:Oxford University
536:978-3-8228-5988-9
467:978-0-415-05777-6
349:Théophile Gautier
182:Théophile Gautier
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1396:Dogs in art
1224: 1850
1141: 1855
1126: 1853
1057:(1837–1838)
1022:The Natchez
998:The Picador
887: 1824
864: 1824
387:Romanticism
371:Les Martyrs
319:Paris Salon
186:Edgar Degas
126:Oil on wood
1355:Categories
589:M. Du Camp
410:References
391:oil sketch
132:Dimensions
64:Dimensions
1406:Scythians
1286:Paul Huet
1025:(1834–35)
977:(1830–31)
929:(1826–27)
809:Paintings
722:Delacroix
653:Z. Astrug
615:, p. 288.
341:landscape
315:exhibited
299:squatting
282:barbarous
266:Histories
261:Herodotus
253:Scythians
225:Black Sea
174:criticism
170:landscape
1208:Drawings
427:Bulletin
368:'s epic
307:Nativity
297:placed,
227:port of
221:Augustus
140:Location
72:Location
1325:Related
1305:Museums
317:in the
303:Madonna
292:wrote:
271:nomadic
263:in his
242:Tristia
237:Romania
233:Scythia
223:to the
193:ceiling
164:artist
1234:People
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1191:(1862)
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479:Hist.
477:Her.
305:in a
275:tribe
229:Tomis
215:when
211:poet
201:Paris
706:ISBN
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490:Ov.
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345:mare
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180:and
122:Type
117:1862
114:Year
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504:Ep.
277:".
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