. Catalogue of masterpieces by "the men of 1830" : forming the private collection of Mr. H. S. Henry, Philadelphia. wanderings, and from a visit to Asia IVIinor he brought back the inspiration and material forthe Oriental subjects, bathed in sunlight and glowing with slumberous color, which ga^e him a distinctiveplace among the masters of the day. In his greatest success his life was not happy. He had his studioand hunting lodge in Fontainebleau, and he divided his life between painting and hunting to dissipate hisbroodings on his disappointment in life. He had few friends, though with Millet
. Catalogue of masterpieces by "the men of 1830" : forming the private collection of Mr. H. S. Henry, Philadelphia. wanderings, and from a visit to Asia IVIinor he brought back the inspiration and material forthe Oriental subjects, bathed in sunlight and glowing with slumberous color, which ga^e him a distinctiveplace among the masters of the day. In his greatest success his life was not happy. He had his studioand hunting lodge in Fontainebleau, and he divided his life between painting and hunting to dissipate hisbroodings on his disappointment in life. He had few friends, though with Millet and other artists of hiscircle he was on amicable terms. Medals and honors only deepened his disgust at his inability to createmonumental masterpieces. Only his great mind preserved him from total misanthropy. One day in 18(!0he rode into the forest with his favorite hounds to hunt. The baying of the dogs attracted the attentionof a forester, and he found one of the greatest artists of the world thrown from his and helpless fromati injury which j)roved mortal. FERDINAND VrCTOR EUGENE DELACROIX 1799-18G3. In tlie uplieaval of the Revolution, French imagination, needing some basisfor its ideals, turned back to the Roman republic. But when the French Republicliad been swallowed up in Imperialism, and the latter had yielded to the bourgeoismediocrity of Louis Philippes reign, the soul was dead in classicism, and it survivedonly as a dogma of the schools. Meanwhile new forces had been let loose. Goethehad sounded the romantic note in Germany, and Byron and Scott among the Eng-lish. The younger generation in France had caught the ardor of it, and wliat VictorHugo was in literature, Gericault and Delacroix were in painting. For the abstracttype they substituted the individual; for ideal beauty, the interest of character; forsuavity and plastic calm, the glow and fury of passion. Passion—love and hatred,remorse and despair—became the life and breath of the movement. Gericaul
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