Paul Delaroche oil painting abstract art French paintings

5  comte portrait
5  family scene
5  Filippo Lippo Falling in Love with his Model 1822
5 Paul Delaroche herodias 1843 by French  oil painting art paintings abstract
5  joan of arc in prison 1824

Paul Delaroche
French Academic painter, sculptor & history painter
born 17 July 1797 - died 4 November 1856
Born in: Paris (Département de Ville de Paris, Ile-de-France, France).
Died in: Paris (Département de Ville de Paris, Ile-de-France, France)

Also known as: Paul Hippolyte Delaroche, Hippolyte Paul Delaroche

Student of: Antoine-Jean Gros (1771-1835).
Teacher of: Marie-Alexandre Alophe (1812-1883), Alexandre Antigna (1817-1878), Gustave Clarence Rodolphe Boulanger (1824-1888), Eugène-Ferdinand Buttura (1812-1852), John Carlin (1813-1891), Michel Jean Cazabon (1813-1888), Thomas Couture (1815-1879), Charles-François Daubigny (1817-1878) in 1840, Charles Jacques Denizard (1816-after 1869), Léon Dussart (1824-), Edouard Frère (1819-1886), Jean Léon Gérôme (1824-1904), Régis François Gignoux (1816-1882), Antoine Auguste Ernest Hebert (1817-1908), Jozef Israëls (1824-1911), Charles Zacharie Landelle (1812-1908), Francisco Laso (1823-1869), Auguste Laugier (1816-after 1880), Gustave Le Gray (1820-1882), Tony Robert-Fleury (1837-1912), Adolphe Yvon (1817-1893).
Husband of: Anne Elizabeth Louise Delaroche (1814-1845).
Assisted by: Ignacio Merino (1817-1876).
Son-in-law of: Horace Vernet (1789-1863).


DELAROCHE, HIPPOLYTE, commonly known as PAUL (1797—1856), French painter, was born in Paris on the 17th of July 1797. His father was an expert who had made a fortune, to some extent, by negotiating and cataloguing, buying and selling. Paul Delaroche was proud of his son’s talent, and able to forward his artistic education. The master selected was Gros, then painting life-size histories, and surrounded by many pupils. In no haste to make an appearance in the Salon, his first exhibited picture was a large one, Josabeth saving Joas (1822). This picture led to his acquaintance with Géricault and Delacroix, with whom Paul Delaroche remained on the most friendly terms, the three forming the central group of a numerous body of historical painters, such as perhaps never before lived in one locality and at one time.- Paul Delaroche oil painting abstract art French paintings - Paul Delaroche oil painting French, abstract art oil paintings Paul Delaroche Bio by abstract oil painting art of French Paul Delaroche oil paintings abstract and abstract art.

From 1822 the record of his life is to be found in the successive works coming from his hand. Paul Delaroche visited Italy in 1838 and 1843, when his father-in-law, Horace Vernet, was director of the French Academy. His studio in Paris was in the rue Mazarine, where Paul Delaroche never spent a day without some good result, his hand being sure and his knowledge great. His subjects, definitely expressed and popular in their manner of treatment, illustrating certain views of history dear to partisans, yet romantic in their general interest, were painted with a firm, solid, smooth surface, which gave an appearance of the highest finish. This solidity, found also on the canvas of Vernet, Scheffer, Leopold Robert and Ingres, was the manner of the day. It repudiates the technical charm of texture and variety of handling which the English school inherited as a tradition from the time of Reynolds; but it is more easily understood by the world at large, since a picture so executed depends for its interest rather on the history, scene in nature or object depicted than on the executive skill, which may or may not be critically appreciated. We may add that his point of view of the historical characters which Paul Delaroche treated is not always just. Cromwell lifting the Coffin-lid and looking at the Body of Charles is an incident only to be excused by an improbable tradition; but The King in the Guard-Room, with villainous roundhead soldiers blowing tobacco smoke in his patient face, is a libel on the Puritans; and Queen Elizabeth dying on the Ground, like a she-dragon no one dares to touch, is sensational; while the Execution of Lady Jane Grey is represented as taking place in a dungeon. Nothing can be more incorrect than this last as a reading of English history, yet we forget the inaccuracy in admiration of the treatment which represents Lady Jane, with bandaged sight, feeling for the block, her maids covering their faces, and none with their eyes visible among the many figures. On the other hand, Strafford led to Execution, when Laud stretches his lawn-covered arms out of the small high window of his cell to give him a blessing as Paul Delaroche passes along the corridor, is perfect; and the splendid scene of Richelieu in his gorgeous barge, preceding the boat containing Cinq-Mars and De Thou carried to execution by their guards, is perhaps the most dramatic semi-historical work ever done. The Princes in the Tower must also be mentioned as a very complete creation; and the Young female Martyr floating dead on the Tiber is so pathetic that criticism feels hard-hearted and ashamed before it. As a realization of a page of authentic history, again, no picture can surpass the Assassination of the due de Guise at Blois. The expression of the murdered man stretched out by the side of the bed, the conspirators all massed together towards the door and far from the body, show exact study as well as insight into human nature. This work was exhibited in his meridian time, 1835; and in the same year Paul Delaroche exhibited the Head of an Angel, a study from Horace Vernet’s young daughter Louise, his love for whom was the absorbing passion of his life, and from the shock of whose death, in 1845, it is said Paul Delaroche never quite recovered. By far his finest productions after her death are of the most serious character, a sequence of small elaborate pictures of incidents in the Passion. Two of these, the Virgin and the other Manes, with the apostles Peter and John, within a nearly dark apartment, hearing the crowd as it passes haling Christ to Calvary, and St John conducting the Virgin home again after all is over, are beyond all praise as exhibiting the divine story from a simply human point of view. They are pure and elevated, and also dramatic and painful.

The titles of oil painting old master Paul Delaroche