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== Background ==

== Background ==

After [[French conquest of Algeria|France invaded Algeria]] in 1830, the reigning French monarch, [[Louis Philippe I|Louis-Philippe]], sent an ambassador, [[Charles-Edgar de Mornay|Charles Edgar de Mornay]], to Morocco in 1832 in order to prevent the conflict from spreading there and ease the fears of the Sultan of Morocco, [[Abd al-Rahman of Morocco|Moulay Abd-er Rahman]].<ref name=”:0″>{{Cite book |last=Néret |first=Gilles |title=Eugene Delacroix, 1798-1863: The Prince of Romanticism |publisher=Taschen |isbn=9783822859889 |edition=2nd |location=Köln |publication-date=May 1, 2000}}</ref>Eugène Delacroix was elected to accompany de Mornay on this mission, and this journey to Morocco became a turning point in his painting career, changing the subjects, ideas, details, and colors of his future work.<ref name=”:2″>{{Cite book |last=Johnson |first=Lee |title=Eugène Delacroix (1798-1863): Paintings, drawings, and prints from North American collections |date=January 1, 1991 |publisher=Metropolitan Museum of Art |isbn=9780810964037 |editor-last=O’Neill |editor-first=John P. |location=New York, N.Y. |chapter=The Art of Delacroix}}</ref>

After [[French conquest of Algeria|France invaded Algeria]] in 1830, the reigning French monarch, [[Louis Philippe I|Louis-Philippe]], sent an ambassador, [[Charles-Edgar de Mornay|Charles Edgar de Mornay]], to Morocco in 1832 in order to prevent the conflict from spreading there and ease the fears of the Sultan of Morocco, [[Abd al-Rahman of Morocco|Moulay Abd-er Rahman]].<ref name=”:0″>{{Cite book |last=Néret |first=Gilles |title=Eugene Delacroix, 1798-1863: The Prince of Romanticism |publisher=Taschen |isbn=9783822859889 |edition=2nd |location=Köln |publication-date=May 1, 2000}}</ref>Eugène Delacroix was elected to accompany de Mornay on this mission, and this journey to Morocco became a turning point in his painting career, changing the subjects, ideas, details, and colors of his future work.<ref name=”:2″>{{Cite book |last=Johnson |first=Lee |title=Eugène Delacroix (1798-1863): Paintings, drawings, and prints from North American collections |date=January 1, 1991 |publisher=Metropolitan Museum of Art |isbn=9780810964037 |editor-last=O’Neill |editor-first=John P. |location=New York, N.Y. |chapter=The Art of Delacroix}}</ref>

”The Sultan of Morocco” was originally meant to celebrate and highlight de Mornay as he successfully met with the Sultan, but Delacroix deemed the event insignificant and chose to depict an open-air scene with the monumental Sultan as its protagonist.<ref name=”:0″ /> Delacroix painted this scene of de Mornay’s reception by the Sultan without de Mornay himself as a tribute to the Sultan without any commission.<ref name=”:1″>{{Cite book |last=Sérullaz |first=Maurice |title=Delacroix in Morocco |last2=Arama |first2=Maurice |last3=Johnson |first3=Lee |last4=Sérullaz |first4=Arlette |date=November 3, 1994 |publisher=Flammarion/Institut du Monde Arabe |isbn=9782080135728 |editor-last=Alaoui |editor-first=Brahim |location=Paris; New York |chapter=The Influence of the Journey on Delacroix’s Art}}</ref>

”The Sultan of Morocco” was originally meant to celebrate and highlight de Mornay as he successfully met with the Sultan, but Delacroix deemed the event insignificant and chose to depict an open-air scene with the monumental Sultan as its protagonist.<ref name=”:0″ /> Delacroix painted this scene of de Mornay’s reception by the Sultan without de Mornay himself as a tribute to the Sultan without any commission.<ref name=”:1″>{{Cite book |last=Sérullaz |first=Maurice |title=Delacroix in Morocco |last2=Arama |first2=Maurice |last3=Johnson |first3=Lee |last4=Sérullaz |first4=Arlette |date=November 3, 1994 |publisher=Flammarion/Institut du Monde Arabe |isbn=9782080135728 |editor-last=Alaoui |editor-first=Brahim |location=Paris; New York |chapter=The Influence of the Journey on Delacroix’s Art}}</ref>

== Artistic Analysis ==

== Artistic Analysis ==

[[Lee Johnson (art historian)|Lee Johnson]] discusses the increased realism and accurate natural lighting effects that appear in Delacroix’s North African paintings, partially inspired by the intense sunlight that made the Moroccan world full of vivid colors.<ref name=”:1″ /> In ”The Sultan of Morocco”, Thoré mentions that Delacroix’s figures are not embellished nor dramatized, but rather remain “‘calm and noble, as tranquil Orientals should be,'” exemplifying “‘magnificence and grandeur in simplicity.'”<ref name=”:0″ /> Delacroix originally wished to have a documentarian level of accuracy and detail in this work, although his later versions in 1856 and 1862 reduced this detail in order to pursue “the poetic side” of his subject.<ref name=”:1″ /> Despite this desire for accuracy, Delacroix took much artistic license in the overall organization and individual elements of his subject.<ref name=”:2″ />

[[Lee Johnson (art historian)|Lee Johnson]] discusses the increased realism and accurate natural lighting effects that appear in Delacroix’s North African paintings, partially inspired by the intense sunlight that made the Moroccan world full of vivid colors.<ref name=”:1″ /> In ”The Sultan of Morocco”, Thoré mentions that Delacroix’s figures are not embellished nor dramatized, but rather remain “‘calm and noble, as tranquil Orientals should be,'” exemplifying “‘magnificence and grandeur in simplicity.'”<ref name=”:0″ /> Delacroix originally wished to have a documentarian level of accuracy and detail in this work, although his later versions in 1856 and 1862 reduced this detail in order to pursue “the poetic side” of his subject.<ref name=”:1″ /> Despite this desire for accuracy, Delacroix took much artistic license in the overall organization and individual elements of his subject.<ref name=”:2″ />

Another key trait of Delacroix’s Moroccan paintings was the mixing of classical tradition with [[Orientalism]] and a Romantic sensibility, and this “synthesis of diverse elements” is exemplified in ”The Sultan of Morocco”. The exotic subject and vibrant blend of colors represent [[Romanticism]] while the clarity of design, architecture, and bold figures represent [[Classicism]] and [[Renaissance art|Renaissance]] ideas.<ref name=”:1″ />

Another key trait of Delacroix’s Moroccan paintings was the mixing of classical tradition with [[Orientalism]] and a Romantic sensibility, and this “synthesis of diverse elements” is exemplified in ”The Sultan of Morocco”. The exotic subject and vibrant blend of colors represent [[Romanticism]] while the clarity of design and bold figures represent [[Classicism]] and [[Renaissance art|Renaissance]] ideas.<ref name=”:1″ />

== References ==

== References ==

The Sultan of Morocco is an 1845 oil on canvas painting by the French Romantic and Orientalist painter Eugène Delacroix, now in the Musée des Augustins de Toulouse.[1] Its full title is Moulay Abd-Er-Rahman, Sultan of Morocco, leaving his palace of Meknès, surrounded by his guards and his principal officers. It shows Sultan Abd al-Rahman of Morocco.[2]

After France invaded Algeria in 1830, the reigning French monarch, Louis-Philippe, sent an ambassador, Charles Edgar de Mornay, to Morocco in 1832 in order to prevent the conflict from spreading there and ease the fears of the Sultan of Morocco, Moulay Abd-er Rahman.[3] Eugène Delacroix was elected to accompany de Mornay on this mission, and this journey to Morocco became a turning point in his painting career, changing the subjects, ideas, details, and colors of his future work.[4]

The Sultan of Morocco was originally meant to celebrate and highlight de Mornay as he successfully met with the Sultan, but Delacroix deemed the event insignificant and chose to depict an open-air scene with the monumental Sultan as its protagonist.[3] Delacroix painted this scene of de Mornay’s reception by the Sultan without de Mornay himself as a tribute to the Sultan without any commission.[5]

Lee Johnson discusses the increased realism and accurate natural lighting effects that appear in Delacroix’s North African paintings, partially inspired by the intense sunlight that made the Moroccan world full of vivid colors.[5] In The Sultan of Morocco, Thoré mentions that Delacroix’s figures are not embellished nor dramatized, but rather remain “‘calm and noble, as tranquil Orientals should be,'” exemplifying “‘magnificence and grandeur in simplicity.'”[3] Delacroix originally wished to have a documentarian level of accuracy and detail in this work, although his later versions in 1856 and 1862 reduced this detail in order to pursue “the poetic side” of his subject.[5] Despite this desire for accuracy, Delacroix took much artistic license in the overall organization and individual elements of his subject.[4]

Another key trait of Delacroix’s Moroccan paintings was the mixing of classical tradition with Orientalism and a Romantic sensibility, and this “synthesis of diverse elements” is exemplified in The Sultan of Morocco. The exotic subject and vibrant blend of colors represent Romanticism, while the clarity of design and bold figures represent Classicism and Renaissance ideas.[5] In particular, the composition of the painting with the grand architecture of the main gate across the background aligns with the monumental tradition of the Italian Renaissance.[6]

  1. ^ Peintures et sculptures du Moyen Age au XX°siècle, Toulouse, musée des Augustins
  2. ^ ‘Delacroix, le voyage au Maroc : exposition Institut du Monde Arabe, 27/09/1994-15/01/1995
  3. ^ a b c Néret, Gilles (May 1, 2000). Eugene Delacroix, 1798-1863: The Prince of Romanticism (2nd ed.). Köln: Taschen. ISBN 9783822859889.
  4. ^ a b Johnson, Lee (January 1, 1991). “The Art of Delacroix”. In O’Neill, John P. (ed.). Eugène Delacroix (1798-1863): Paintings, drawings, and prints from North American collections. New York, N.Y.: Metropolitan Museum of Art. ISBN 9780810964037.
  5. ^ a b c d Sérullaz, Maurice; Arama, Maurice; Johnson, Lee; Sérullaz, Arlette (November 3, 1994). “The Influence of the Journey on Delacroix’s Art”. In Alaoui, Brahim (ed.). Delacroix in Morocco. Paris; New York: Flammarion/Institut du Monde Arabe. ISBN 9782080135728.
  6. ^ Johnson, Lee (1978). “Towards Delacroix’s Oriental Sources”. The Burlington Magazine. 120 (900): 144–151. ISSN 0007-6287.

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