看羅浮宮掛出巨幅畫 Entry of the Crusaders in Constantinople (1840) 。2020禮拜天美術神遊：歐仁·德拉克洛瓦（Eugène Delacroix）在巴黎聖敘爾比斯教堂（Saint-Sulpice）的壁畫（1855-1861）
聖敘爾比斯教堂（法語：Saint-Sulpice）是坐落於巴黎第六區的一座天主教教堂。
Church of Saint-Sulpice
French: Église Saint-Sulpice
Church of Saint-Sulpice
48°51′04″N 2°20′05″E
Plan of the church
Inner choir with pilasters
South transept
Lady Chapel
Statue of Mary
Dome of the Lady Chapel
During the Directory, Saint-Sulpice was used as a Temple of Victory.[14] Redecorations to the interior, to repair extensive damage still remaining from the Revolution, were begun after the Concordat of 1801.[20] Eugène Delacroix added murals (1855–1861) that adorn the walls of the Chapel of the Holy Angels (first side-chapel on the right). The most famous of these are Jacob Wrestling with the Angel and Heliodorus Driven from the Temple.[21] A third, on the ceiling, is Saint Michael Vanquishing the Demon.
Jacob Wrestling with the Angel.jpg)
Heliodorus Driven from the Temple
在目錄*中，聖敘爾皮斯被用作勝利之廟。[14] 1801年《協和號》生效後，開始進行內部裝修，以修復革命仍然留下的廣泛破壞。[20] 歐仁·德拉克洛瓦（EugèneDelacroix）添加了壁畫（1855-1861），裝飾壁畫的是聖天使教堂（右側的第一座小教堂）。 其中最著名的是雅各布與天使搏鬥和從聖殿趕來的赫利奧杜魯斯。[21] 第三個是天花板上的聖邁克爾·征服惡魔。
*Directory (political), a system under which a country is ruled by a college of several people who jointly exercise the powers of a head of state or head of governmentFrench Directory, the government in revolutionary France from 1795 to 1799
concordat ：政教協定；政教條約：教廷與各國政府所訂有關宗教事務之條約。
Le combat avec l'Ange[modifier | modifier le code]
Cliquez sur une image pour l'agrandir, ou survolez-la pour afficher sa légende.Combat avec l'Ange
Delacroix reçoit la commande de trois fresques pour la chapelle des Anges l’église Saint-Sulpice de Paris en 1849, travail qu'il conduira jusqu'en 1861. Ces fresques Le Combat de Jacob et l'Ange et Héliodore chassé du temple accompagné de la lanterne du plafond Saint Michel terrassant le Dragon sont le testament spirituel du peintre. Pour les réaliser le peintre s'installe rue Furstenberg à deux pas. Il met au point un procédé à base de cire et de peinture l'huile pour peindre ses fresques dans une église à l'humidité endémique qui provoque la destruction des fresques par le salpêtre. Malade, il est épuisé par le travail dans le froid et les conditions difficiles. À l'inauguration des fresques, aucun officiel ne sera présent.
La fresque de la lutte de l'ange et de Jacob, illustre le combat entre le patriarche de la Bible et l'ange au centre gauche de la fresque au pied de trois arbres, et comporte de nombreuses allusions à son voyage au Maroc de 1832, à droite des personnages enturbannées sont cités avec des moutons et un chameau. À droite en bas des objets marocains et sur l'herbe au pied de Jacob, le sabre Marocain Nimcha156 qu'il avait rapporté de son voyage.
Terminé en 1860, la fresque de l'Héliodore chassé du temple, prend pour motif le moment où le général Séleucide, venu voler le trésor du Temple en est chassé par des anges cavaliers suivant le récit biblique du second Livre des Maccabées (3, 24-27). Delacroix associe dans une même vision le monde de l'Orient au monde biblique. Il puise son inspiration aussi dans l'histoire de la peinture dans la version de 1725 de Francesco Solimena du Louvre ou de celle de Raphaël.
Le plafond présente le combat victorieux de saint Michel contre le dragon, trois combats qui font écho à celui de Delacroix avec la peinture : « La peinture me harcèle et me tourmente de mille manières à la vérité, comme la maîtresse la plus exigeante ; depuis quatre mois, je fuis dès le petit jour et je cours à ce travail enchanteur, comme aux pieds de la maîtresse la plus chérie ; ce qui me paraissait de loin facile à surmonter me présente d’horribles et incessantes difficultés. Mais d’où vient que ce combat éternel, au lieu de m’abattre, me relève, au lieu de me décourager, me console et remplit mes moments, quand je l’ai quitté157 ? »
En 1861, Baudelaire publie un article élogieux sur les peintures de Saint-Sulpice, auquel Delacroix répond par une lettre chaleureuse au poète158. Baudelaire publie en 1863 l'œuvre et la vie d'Eugène Delacroix où il rend hommage au génie du peintre159.
Delacroix receives the order for three frescoes for the Chapel of the Angels the Saint-Sulpice church in Paris in 1849, a work that he will carry out until 1861. These frescoes The Combat of Jacob and the Angel and Heliodorus driven from the temple accompanied by the ceiling lantern of Saint Michael slaying the Dragon are the painter's spiritual testament. To achieve them, the painter moved to rue Furstenberg a stone's throw away. He developed a process based on wax and oil paint to paint his frescoes in a church with endemic humidity which caused the destruction of the frescoes by saltpetre. Sick, he was exhausted from working in the cold and in difficult conditions. At the inauguration of the frescoes, no official will be present.
The fresco of the fight of the angel and Jacob, illustrates the fight between the patriarch of the Bible and the angel in the center left of the fresco at the foot of three trees, and contains many allusions to his trip to Morocco in 1832 , on the right, turbaned figures are mentioned with sheep and a camel. To the right, below the Moroccan objects and on the grass at Jacob's foot, the Moroccan Nimcha156 saber that he had brought back from his trip.
Completed in 1860, the fresco of Heliodorus expelled from the temple, takes as its motive the moment when General Seleucides, who came to steal the temple's treasure, was driven out by cavalry angels according to the biblical account of the Second Book of the Maccabees (3, 24 -27). Delacroix associates in the same vision the world of the East with the biblical world. He also draws his inspiration from the history of painting in the 1725 version of Francesco Solimena from the Louvre or that of Raphaël.
3赫略多洛就來執行他所決定的事。
24當他與衛兵走近寶庫的時候，眾神和全能的主忽然大顯異像，使那些擅入聖殿的人，受到天主威能的打擊，驚惶失措，不省人事，
25因為在他們眼前出現了一匹配備華麗的駿馬，上面騎著一位威嚴可怕的騎士，疾馳衝來，前蹄亂踏赫略多洛，騎馬的人身穿金黃的鎧甲。
26同時又出現了兩位英勇的少年，光榮體面，穿戴華麗，立在赫略多洛的兩旁，鞭打不停，使他身受重傷。
27赫略多洛忽然倒在地上，昏迷不省。人將他扶起，放在床上，
28這即是方才帶著大批侍從和衛士來到寶庫的人，現在卻無能為力，為人抬出，公然承認了這是天主的大能。
29正當這人受天主大能的打擊，啞口失聲，絕望無救的時候，
30猶太人卻同聲讚頌上主，因為上主光榮了自己的聖所；方才還充滿著恐怖驚慌的聖殿，如今卻因全能上主的顯現，充滿了歡喜快樂。
The ceiling presents the victorious fight of Saint Michael against the dragon, three fights which echo that of Delacroix with painting: “Painting harasses me and torments me in a thousand ways indeed, like the most demanding mistress; for four months, I have been fleeing at dawn and I run to this enchanting work, as at the feet of the most beloved mistress; what seemed from a distance easy to overcome presents me with horrible and incessant difficulties. But where does this eternal struggle come from, instead of bringing me down, picking me up, instead of discouraging me, consoling me and filling my moments, when I left it157? "
In 1861, Baudelaire published a laudatory article on the paintings of Saint-Sulpice, to which Delacroix replied with a warm letter to the poet158. Baudelaire published in 1863 the work and life of Eugène Delacroix in which he paid homage to the genius of the painter159.
***https://en.wikipedia.org/wiki/Jacob_wrestling_with_the_angel
25雅各伯獨自一人留在後面。有一人前來與他搏鬥一直到曙光破曉。
26那人見自己不能制勝，就在他的大腿窩上打了一下；雅各伯正在與他搏鬥之際，大腿窩脫了節。
27那人說：「讓我走罷！天已破曉。」雅各伯說：「你如果不祝福我，我不讓你走。」
28那人問他說：「你叫什麼名字？」他答說：「雅各伯。」
29那人說：「你的名字以後不再叫雅各伯，應叫以色列，因為你與神與人搏鬥，佔了優勢。」
30雅各伯問說：「請你告訴我你的名字。」那人答說：「為什麼你要問我的名字？」遂在那裏祝福了他。
31雅各伯給那地方起名叫「培尼耳」，意謂「我面對面見了神，我的生命仍得保全」。
32雅各伯經過培尼耳時，太陽已升起照在身上，由於大腿脫了節，他一走一瘸。
33為此，以色列子民至今不吃大腿窩上的筋，因為那人打了雅各伯的大腿窩，正打在筋上。
Jacob wrestling with the angel is described in Genesis (32:22–32; also referenced in Hosea 12:4). The "angel" in question is referred to as "man" (אִישׁ) and "God" in Genesis, while Hosea references an "angel" (מַלְאָךְ).[1] The account includes the renaming of Jacob as Israel (etymologized as "contends-with-God").
In the Genesis narrative, Jacob spent the night alone on a riverside during his journey back to Canaan. He encounters a "man" who proceeds to wrestle with him until daybreak. In the end, Jacob is given the name "Israel" and blessed, while the "man" refuses to give his own name. Jacob then names the place where they wrestled Penuel (פְּנוּאֵל "face of God" or "facing God"[2]).
Jacob Wrestles With God
22 That night Jacob got up and took his two wives, his two female servants and his eleven sons and crossed the ford of the Jabbok. 23 After he had sent them across the stream, he sent over all his possessions. 24 So Jacob was left alone, and a man wrestled with him till daybreak. 25 When the man saw that he could not overpower him, he touched the socket of Jacob’s hip so that his hip was wrenched as he wrestled with the man. 26 Then the man said, “Let me go, for it is daybreak.”
But Jacob replied, “I will not let you go unless you bless me.”
27 The man asked him, “What is your name?”
“Jacob,” he answered.
28 Then the man said, “Your name will no longer be Jacob, but Israel,[a] because you have struggled with God and with humans and have overcome.”
29 Jacob said, “Please tell me your name.”
But he replied, “Why do you ask my name?” Then he blessed him there.
30 So Jacob called the place Peniel,[b] saying, “It is because I saw God face to face, and yet my life was spared.”
31 The sun rose above him as he passed Peniel,[c] and he was limping because of his hip.
Read full chapter
FootnotesGenesis 32:28 Israel probably means he struggles with God.
Genesis 32:30 Peniel means face of God.
Genesis 32:31 Hebrew Penuel, a variant of Peniel
****
https://en.wikipedia.org/wiki/Saint_George_and_the_Dragon
Career
Chios and Missolonghi
Delacroix's painting of Chios Massacre during the Greek civil wars of 1823–1825 shows dying Greek civilians rounded up for enslavement by the Ottoman Empire.[13] This is one of several paintings he made of contemporary events, expressing the official policy for the Greek cause in Greek War of Independence against the Turks, the English, the Russians, and the French governments. Delacroix was quickly recognized by the authorities as a leading painter in the new Romantic style, and the picture was bought by the state. His depiction of suffering was controversial, however, as there was no glorious event taking place, no patriots raising their swords in valour as in David's Oath of the Horatii, only a disaster. Many critics deplored the painting's despairing tone; the artist Antoine-Jean Gros called it "a massacre of art".[12]
The pathos in the depiction of an infant clutching its dead mother had an especially powerful effect, although this detail was condemned as unfit for art by Delacroix's critics. A viewing of the paintings of John Constable and the watercolour sketches and art of Richard Parkes Bonnington prompted Delacroix to make extensive, freely painted changes to the sky and distant landscape.[14]
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Delacroix produced a second painting in support of the Greeks in their war for independence, this time referring to the capture of Missolonghi by Turkish forces in 1825.[15] With a restrained palette appropriate to the allegory, "Greece Expiring on the Ruins of Missolonghi" depicts a woman in Greek costume with her breast bared, arms half-raised in an imploring gesture before the horrific scene: the suicide of the Greeks, who chose to kill themselves and destroy their city rather than surrender to the Turks. A hand is visible at the bottom, the body having been crushed by rubble. The painting serves as a monument to the people of Missolonghi and to the idea of freedom against tyrannical rule. This event interested Delacroix not only for his sympathies with the Greeks, but also because the poet Byron, whom Delacroix greatly admired, had died there.[2]
Romanticism
A trip to England in 1825 included visits to Thomas Lawrence and Richard Parkes Bonington, and the colour and handling of English painting provided impetus for his only full-length portrait, the elegant Portrait of Louis-Auguste Schwiter (1826–30). At roughly the same time, Delacroix was creating romantic works of numerous themes, many of which would continue to interest him for over thirty years. By 1825, he was producing lithographs illustrating Shakespeare, and soon thereafter lithographs and paintings from Goethe's Faust. Paintings such as The Combat of the Giaour and Hassan (1826), and Woman with Parrot (1827), introduced subjects of violence and sensuality which would prove to be recurrent.[16]
These various romantic strands came together in The Death of Sardanapalus (1827–28). Delacroix's painting of the death of the Assyrian king Sardanapalus shows an emotionally stirring scene alive with colours, exotic costumes and tragic events. The Death of Sardanapalus depicts the besieged king watching impassively as guards carry out his orders to kill his servants, concubines and animals. The literary source is a play by Byron, although the play does not specifically mention any massacre of concubines.[17]
Sardanapalus' attitude of calm detachment is a familiar pose in Romantic imagery in this period in Europe. The painting, which was not exhibited again for many years afterward, has been regarded by some critics[who?] as a gruesome fantasy involving death and lust. Especially shocking is the struggle of a nude woman whose throat is about to be cut, a scene placed prominently in the foreground for maximum impact. However, the sensuous beauty and exotic colours of the composition make the picture appear pleasing and shocking at the same time.[original research?]
A variety of Romantic interests were again synthesized in The Murder of the Bishop of Liège (1829). It also borrowed from a literary source, this time Scott, and depicts a scene from the Middle Ages, that of the murder of Louis de Bourbon, Bishop of Liège amidst an orgy sponsored by his captor, William de la Marck. Set in an immense vaulted interior which Delacroix based on sketches of the Palais de Justice in Rouen and Westminster Hall, the drama plays out in chiaroscuro, organized around a brilliantly lit stretch of tablecloth. In 1855, a critic described the painting's vibrant handling as "Less finished than a painting, more finished than a sketch, The Murder of the Bishop of Liège was left by the painter at that supreme moment when one more stroke of the brush would have ruined everything".[18]
Liberty Leading the People
Delacroix's most influential work came in 1830 with the painting Liberty Leading the People, which for choice of subject and technique highlights the differences between the romantic approach and the neoclassical style. Less obviously, it also differs from the Romanticism of Géricault, as exemplified by The Raft of the Medusa.
Probably Delacroix's best-known painting, Liberty Leading the People is an unforgettable image of Parisians, having taken up arms, marching forward under the banner of the tricolour representing liberty, equality, and fraternity. Although Delacroix was inspired by contemporary events to invoke this romantic image of the spirit of liberty, he seems to be trying to convey the will and character of the people,[19] rather than glorifying the actual event, the 1830 revolution against Charles X, which did little other than bring a different king, Louis Philippe I, to power. The warriors lying dead in the foreground offer poignant counterpoint to the symbolic female figure, who is illuminated triumphantly against a background of smoke.[20]
Although the French government bought the painting, by 1832 officials deemed its glorification of liberty too inflammatory and removed it from public view.[21] Nonetheless, Delacroix still received many government commissions for murals and ceiling paintings.[22]
Following the Revolution of 1848 that saw the end of the reign of King Louis Philippe, Liberty Leading the People was finally put on display by the newly elected president, Louis Napoleon (Napoleon III). It is exhibited in the Louvre museum in Paris; although from December 2012 until 2014 it was on exhibit at Louvre-Lens in Lens, Pas-de-Calais.[23]
The boy holding a pistol aloft on the right is sometimes thought to be an inspiration for the Gavroche character in Victor Hugo's 1862 novel, Les Misérables.[24]
Religious works
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Delacroix painted hundreds of religious works in his lifetime and had a strong interest in Christianity.[25] He had many commissions for religious paintings, including pieces for the Saints-Anges chapel of Saint-Sulpice in Paris.[26] His religious paintings and style would shift drastically depending on the needs of the commission.[27]
Some of his religious works, such as Christ on the Sea of Galilee, had multiple painted versions.[28] Delacroix's Pietà, a painting of the Virgin Mary mourning Christ after his death, was eventually redone by Vincent van Gogh.[29]
Delacroix reflected on religion through his paintings, and his religious works often show subtle details to Biblical texts.[30] While considered an unbeliever or agnostic, his journal and paintings reveal an openness and receptiveness to spirituality through his art.[31][25]
Travel to North Africa
In 1832, Delacroix traveled to Spain and North Africa in company with the diplomat Charles-Edgar de Mornay, as part of a diplomatic mission to Morocco shortly after the French conquered Algeria. He went not primarily to study art, but to escape from the civilization of Paris, in hopes of seeing a more "primitive" culture.[19] He eventually produced over 100 paintings and drawings of scenes from or based on the life of the people of North Africa, and added a new and personal chapter to the interest in Orientalism.[32]
Delacroix was entranced by the people and their clothes, and the trip would inform the subject matter of a great many of his future paintings. He believed that the North Africans, in their attire and their attitudes, provided a visual equivalent to the people of Classical Rome and Greece:
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