Delaroche, Paul (Paris, 17–07–1797 - Paris, 02–11–1856)
The victors of the Bastille in front of the Hôtel de Ville, July 14, 1789, c. between 1830 and 1838
Oil on canvas
Height: 400cm, Width: 435 cm
Petit Palais, Museum of Fine Arts of the City of Paris
Shortly after the arrival of Louis-Philippe, the painters Delaroche, Cogniet, Schnetz and Drolling receive orders for four large paintings for the Throne Room of the Hotel de Ville, to celebrate the heroes of the revolutions of July 1789 and July 1830.
It was up to Paul Delaroche to represent "the People returning victorious from the Bastille".
On the evening of the 14th of July, 1789, the heroes of the day, wounded, in rags, but triumphant, arrived in front of the Hotel de Ville, bringing back the trophies wrested from the old prison. The central figure victoriously brandishes the key of the fortress and a letter signed by Launay, the governor of the Bastille which has just been lynched by the crowd. More on this painting
Paul Delaroche (17 July 1797 – 4 November 1856) was a French painter who achieved his greater successes painting historical scenes. He became famous in Europe for his melodramatic depictions that often portrayed subjects from English and French history.
The Emperor Napoleon I in his study in 1807, c. 1838
Oil on canvas
I have no further description, at this time
Portrait of Napoleon I, c. around 1840
Oil on canvas.
92 x 70 cm.
Private collection
The Emperor Napoleon I is here represented in the uniform of a colonel of the foot grenadiers of the Guard around 1812, he is decorated with the officer's cross of the Legion of Honor, the Commander's Cross of the Iron Crown, the large eagle plaque and the large cordon of the Legion of Honor. He wears his right hand in the waistcoat, this attitude which first appeared in a drawing by Isabey dating from 1801, “Bonaparte à la Malmaison”, is the symbol of moderation or weighting. The presence on his shoulders of the large gray coat which he wears constantly in the field is typical of the representations of Napoleon during the latter part of his reign. More on this painting
Delaroche, Paul (Paris, 1797 - Paris, 1856)
Bonaparte crossing the Alps, c. 1848
Oil on canvas
Height: 2.89 m; Width: 2.22 m
Grand Palais (Louvre museum)
Having taken power in France on 9 November 1799, Napoleon was determined to return to Italy to reinforce the French troops in the country and retake the territory seized by the Austrians in the preceding years. In the spring of 1800 he led the Reserve Army across the Alps through the Great St Bernard Pass. The Austrian forces, under Michael von Melas, were laying siege to Masséna in Genoa and Napoleon hoped to gain the element of surprise by taking the trans-Alpine route. By the time Napoleon's troops arrived, Genoa had fallen; but he pushed ahead, hoping to engage the Austrians before they could regroup. The Reserve Army fought a battle at Montebello on 9 June before eventually securing a decisive victory at the Battle of Marengo.
In reality the crossing had been made in fine weather and Bonaparte had been led across by a guide a few days after the troops, mounted on a mule.
Arthur George, 3rd Earl of Onslow, who had a large Napoleonic collection, was visiting the Louvre with Paul Delaroche in 1848 and commented on the implausibility and theatricality of Jacques-Louis David's painting. He commissioned Delaroche to produce a more accurate version which featured Napoleon on a mule; the final painting, Bonaparte Crossing the Alps, was completed in 1850. More on Bonaparte crossing the Alps
Napoleon at Fontainebleau, 31 March 1814, c. 1840
Oil on canvas
H 180 x W 110 cm
Welshpool Town Hall
Often described as showing Napoleon at Fontainebleau after his first abdication, this icon of the imperial legend in fact shows the emperor several days before he performed that political act, indeed at the very moment where he realised that the wheel of fortune had turned.
Just off his horse, his great coat and boots still spotted with mud, and his hat thrown on the ground, his papers case thrown on the divan, the emperor sits slumped in a chair, aghast at recent events.
Defeated, and already abandoned by many of his erstwhile supporters, here he is alone in his private apartments in Fontainebleau, staring destiny in the face. He sees glory turns its back on him and understands that his fall is close. More on Napoleon at Fontainebleau
Delaroche aimed to depict his subjects and history with pragmatic realism. He did not consider popular ideals and norms in his creations, but rather painted all his subjects in the same light whether they were historical figures like Marie-Antoinette, figures of Christianity, or people of his time like Napoleon Bonaparte.
Lady Jane Grey was the great-granddaughter of Henry VII of England and first cousin once removed to his grandson, the short-lived Edward VI. After Edward's death she was proclaimed queen, being given precedence over Henry VIII's daughters, Mary Tudor and Elizabeth. Two weeks after the death of her brother, Mary, who had the support of the English people, claimed the throne, which Jane relinquished, having reigned for only nine days. Jane, her husband Lord Guilford Dudley, and her father, were imprisoned in the Tower of London on charges of high treason. Jane's trial was conducted in November, but the death penalty handed to her was temporarily suspended.
The first Delaroche picture exhibited was the large Jehosheba saving Joash (1822). This exhibition led to his acquaintance with Théodore Géricault and Eugène Delacroix, with whom he formed the core of a large group of Parisian historical painters. He visited Italy in 1838 and 1843, when his father-in-law, Horace Vernet, was director of the French Academy in Rome. In 1845, he was elected into the National Academy of Design, New York, as an Honorary Academician.
Paul Delaroche (1797–1856)
Joan of Arc (1412–1431) was burned as a heretic at Rouen on 30 May 1431 after five months of interrogation. She had raised the siege of Orléans by the English and conducted Charles VII to his coronation at Rheims. Although Delaroche shows Henry Beaufort, Cardinal of Winchester (d.1447), threatening Joan with eternal damnation, she was actually interrogated by Pierre Cauchon, Bishop of Beauvais, and there is no evidence that an encounter with Beaufort ever took place. By showing Beaufort pointing down to Hell to threaten Joan with eternal damnation, Delaroche no doubt recalled the terrible irony that on his own deathbed Beaufort refused to lift his hand to acknowledge his hope of ‘Heaven’s bliss’. More on this painting
Paul Delaroche was born into the petty lord de la Roche family, a family of artists, dealers, collectors, and art administrators. His father, Gregoire-Hippolyte Delaroche, was a prominent art dealer in Paris. Paul Delaroche was the second of two sons and was introduced to fine art at a young age. At age nineteen, Delaroche was afforded by his father the opportunity to study at L'École des Beaux-Arts under the instruction of Louis Étienne Watelet. Delaroche was influenced by his father to focus on landscapes while he was at L’École because his brother, Jules-Hippolyte Delaroche, already focused on painting history. After two years at L’École, Delaroche voiced his disinterest in landscapes and acted on his overall disagreement to the French academic system. He left L'École des Beaux-Art in at the end of 1817. In the year 1818, Delaroche entered the studio of Antoine-Jean Gros where he could pursue his greater interest of history painting.
Paul Delaroche (1797–1856)
Paul Delaroche (1797–1856)
The Young Martyr (See above) represents both Delaroche's emphasis on historical accuracy and flair for drama and emotionality in painting as The Young Martyr depicts the historical martyrdom of a Christian woman, while, at the same time, an otherworldly halo, emanating above the Martyr's forehead, emphasizes the painting's dramatic, emotional effect.
Paul Delaroche (1797–1856)
Hémicycle des Beaux-arts, c. between 1841 and 1842
Represented are great artists of the past who appear to preside over the awards ceremonies held in the auditorium. Enthroned in the center are the three masters of antiquity-Ictinus the architect, Apelles the painter, and Phidias the sculptor-flanked by personifications of Greek and Gothic art (on the left) and Roman and Renaissance art (on the right). Below, the semi-nude figure of Fame leans forward to distribute laurel wreaths to the recipients of the coveted Grand Prix de Rome.
After 1837, Delaroche stopped exhibiting his work altogether. The disappointing public reception of his painting, St. Cecilia (See above), along with his overall rejection of Davidian values in French society and government led him to his “self-imposed exile from the government-sponsored Salons.” Delaroche then commenced the creation of his most famous work, The Hemicycle, painted on a semicircular saloon at L’Ecole des Beaux-Arts. The Hemicycle was a 27-meter panoramic that included over seventy of the most famous artists since Antiquity. The artists included represent Gothic, Greek, Roman, and Renaissance art. The subjects of this painting appeal to the academic taste of the nineteenth-century. Delaroche did not complete this project alone; four of his students assisted him and together they worked from 1837 to 1841. In 1855 the work was severely damage by fire and Delaroche spent the last year of his life restoring his work. Delaroche died in 1856 and restoration was taken over by Tony Robert-Fleury, a student of Delaroche. More on Paul Delaroche
Paul Delaroche (1797–1856)
The Execution of Lady Jane Grey, c. 1833
Oil on canvas
Height: 246 cm (96.8 in); Width: 297 cm (116.9 in)
National Gallery, London
The painting depicts the moment that Jane, blindfolded, is being assisted to lay her head upon the block for the executioner. Her outstretched hand reaches uncertainly down to find the block. She is being assisted by a man who is identified as John Brydges, 1st Baron Chandos. Chandos was a Lieutenant of the Tower at the time of Jane's execution.[5] While imprisoned in the Tower, Jane was attended by ladies in waiting, one of whom was the nursemaid of her infancy. Two ladies in waiting are depicted in the painting, showing their grief at the event which is about to take place. More on the Execution of Lady Jane Grey
The Execution of Lady Jane Grey (See above) was the most acclaimed of Delaroche's paintings in its day. Later in the 1830s, Delaroche exhibited the first of his major religious works. His change of subject and “the painting’s austere manner” were ill-received by critics and after 1837, he stopped exhibiting his work altogether. At the time of his death in 1856, he was painting a series of four scenes from the Life of the Virgin.
Paul Delaroche (1797–1856)
La Femme de l'artiste, Louise Vernet, sur son lit de mort/ Louise Vernet on Her Death Bed, c. 1846
Oil on canvas
62,2 x 75 x 1,2 cm
Nantes, Museum of Fine Arts.
Delaroche created a convincing and transcendent image of his dead wife. Louise lays blissfully in profile, as both her mouth and right eye remain slightly open. Her elevated head rests on two pillows, as locks of her hair fall vertically to her shoulder and drape diagonally across her bosom. Delaroche carefully defined each curl, delineating individual hairs and shimmering highlights, in Louise's palpable coiffure. Her pale skin and her lifeless body indicate that she is deceased. Rather than present the sordid details of death by fever, Delaroche conveyed Christian triumph over death, as a halo emerges from the dark background to encircle his wife's beautiful head. This drawing is an angelic effigy. More on this painting
The first Delaroche picture exhibited was the large Jehosheba saving Joash (1822). This exhibition led to his acquaintance with Théodore Géricault and Eugène Delacroix, with whom he formed the core of a large group of Parisian historical painters. He visited Italy in 1838 and 1843, when his father-in-law, Horace Vernet, was director of the French Academy in Rome. In 1845, he was elected into the National Academy of Design, New York, as an Honorary Academician.
Joan of Arc in Prison, c. 1825
Oil on canvas
H 48.1 x W 37.8 cm
The Wallace Collection
Hippolyte (Paul) Delaroche (1797 - 1856)
Joan of Arc in Prison, c. 1823-4
Oil on canvas
21.8 x 18.7 cm
The Wallace Collection
A preparatory sketch, much more broadly painted than the finished work, for the picture exhibited at the Paris Salon of 1824 (now Rouen, Musée des Beaux-Arts) This is one of the few sketches acquired by the 4th Marquess of Hertford who usually preferred to buy finished works. More on this painting
Paul Delaroche was born into the petty lord de la Roche family, a family of artists, dealers, collectors, and art administrators. His father, Gregoire-Hippolyte Delaroche, was a prominent art dealer in Paris. Paul Delaroche was the second of two sons and was introduced to fine art at a young age. At age nineteen, Delaroche was afforded by his father the opportunity to study at L'École des Beaux-Arts under the instruction of Louis Étienne Watelet. Delaroche was influenced by his father to focus on landscapes while he was at L’École because his brother, Jules-Hippolyte Delaroche, already focused on painting history. After two years at L’École, Delaroche voiced his disinterest in landscapes and acted on his overall disagreement to the French academic system. He left L'École des Beaux-Art in at the end of 1817. In the year 1818, Delaroche entered the studio of Antoine-Jean Gros where he could pursue his greater interest of history painting.
The Death of Elizabeth I, Queen of England, c. 1828
Oil on canvas
422 x 343 cm
Musée du Louvre, Paris
Queen Elizabeth I claimed the throne in 1558 at the age of 25 and held it until her death 44 years later. Elizabeth I was born a princess but declared illegitimate through political machinations. Eventually, upon her half-sister Mary Tudor’s death, she took the crown.
During her reign, Elizabeth I established Protestantism in England; defeated the Spanish Armada in 1588; maintained peace inside her previously divided country; and created an environment where the arts flourished. She was sometimes called the "Virgin Queen", as she never married.
The cause of Elizabeth’s death remains a hotly contested subject. Before her death, Elizabeth refused permission for a post-mortem to be conducted, leaving the cause of her death forever shrouded in mystery. More on The Death of Elizabeth I
Paul Delaroche (1797–1856) (after)
Cromwell Gazing at the Body of Charles I, c. 1830–1900
Oil on canvas
H 51 x W 61.5 cm
Museum of London
Charles I was a hard-headed practitioner of real politik, who did not hesitate to cast longtime friends to the wolves in the name of political expediency. Charles fought the armies of the English and Scottish parliaments in the English Civil War. He was defeated in 1645, and surrendered to a Scottish force that handed him over to the English Parliament. Charles refused to accede to demands for a constitutional monarchy, and escaped in 1647. He was re-imprisoned on the Isle of Wight, where he forged an alliance with Scotland. However, Oliver Cromwell had control over England by 1648, and then Charles was tried, convicted and executed for high treason in 1649. The monarchy was abolished and the Commonwealth of England began (lasting a scant year, when the monarchy was restored to Charles’ son, Charles II).
Delaroche was among the most popular and highest paid painters of his generation. It was a generation that brooded upon the French Revolution decades earlier, and had lost much of its optimism. Instead, Delaroche had a particular affinity for history’s victims. One critic claimed he specifically chose subjects “that attack the nervous system of the public.” More the on Cromwell Gazing at the Body of Charles I
Paul Delaroche (1797–1856)
The Princes in the Tower, c. mid-19th C
Edward V, Minor King of England, and Richard, Duke of York, his younger brother (1483), known as The Children of Edward
Oil on canvas
H 61 x W 76 cm
Tower of London
In 1933 the skeletons of two young boys, one aged about 10 and the other 13, were disinterred from Westminster Abbey .
These bones had been re-buried in an urn in 1674 and placed in the Henry VIIth Chapel in the Abbey. The skeletons aroused much interest and debate as they were believed by many historians to be the bones of the two princes who were reputedly murdered in the Tower of London in the 15th century.
The princes were Edward V and his brother Richard Duke of York, the sons of Edward IV and his Queen, Elizabeth Woodville. Their uncle, Richard of Gloucester, later Richard III, came after them in the succession.
In his ‘history’, Sir Thomas More was quite sure that these young boys were murdered by their uncle Richard of Gloucester and Shakespeare also portrayed Richard III as the evil murderous uncle. More on the Princes in the Tower
Delaroche's debuted at the Salon in 1822 where he exhibited Christ Descended from the Cross and Jehosheba Saving Joash. The latter was a product of Gros's influence. His painting, Joan of Arc in Prison (See above) which was exhibited in the Salon of 1824, along with his following works reflect the middle ground he occupied. Delaroche studied the recent tradition of English history painting at the time, which he incorporated into his own productions. In 1828 he exhibited the first of his English history paintings, Death of Queen Elizabeth (See above). Delaroche's focus on English history achieved him popularity in Britain in the 1830s and 1840s. In the 1830s, Delaroche produced some of his most lauded works, including Cromwell Gazing at the Body of Charles I (See above), The Princes in the Tower (See above) and his most acclaimed piece, the Execution of Lady Jane Grey (See above). Recognizing his talent and popularity, the Académie des Beaux-Arts elected Delaroche a member of the society in 1832.
Paul Delaroche (1797–1856)
The Virgin and Child, c. 1844
Oil on canvas
H 147.7 x W 87.5 cm
The Wallace Collection
Painted for the 4th Marquess of Hertford. The composition, with the Virgin’s raised eyes, anticipates the traditional subject of the pietà, the body of the dead Christ in the lap of the Virgin – an original conception as Delaroche himself realised. It also suggests the Rest on the Flight into Egypt. 'The Virgin and Child' may be idealised portraits of the artist’s wife, Louise Vernet, and younger son, Philippe, born in 1841. The landscape is probably based on studies made at the quarries at Cervara, about six miles to the east of Rome. Delaroche regarded the picture as one of his best works. More on this painting
Paul Delaroche (1797–1856)
Saint Cecilia and the Angels, c. 1836
Oil on canvas
Height: 205.7 cm (80.9 in) Width: 162.5 cm (63.9 in)
Victoria and Albert Museum
Saint Cecilia is the patroness of musicians. It is written that as the musicians played at her wedding she "sang in her heart to the Lord". She is one of seven women, excluding the Blessed Virgin, commemorated by name in the Canon of the Mass.
According to the story, despite her vow of virginity, she was forced by her parents to marry a nobleman named Valerian. During the wedding, Cecilia sat apart singing to God in her heart, and for that she was later declared the saint of musicians. When the time came for her marriage to be consummated, Cecilia told Valerian that she had an angel of the Lord watching over her who would punish him if he dared to violate her virginity but who would love him if he could respect her maidenhood. When Valerian asked to see the angel, Cecilia replied that he would see the angel if he would go to the third milestone on the Via Appia (the Appian Way) and be baptized by Pope Urbanus.] After his baptism, he found an angel standing by the side of Cecilia, and crowning her with a chaplet of roses and lilies.
The martyrdom of Cecilia is said to have followed that of Valerian and his brother by the prefect Turcius Almachius. The legend about Cecilia’s death says that after being struck three times on the neck with a sword, she lived for three days, and asked the pope to convert her home into a church. More on Saint Cecilia
This painting shows St Cecilia, saint patron of music, attended by angels kneeling before her. The very bright palette and somewhat archaic treatment provides a sense of ideal spirituality, which would influence the next generation of painter including Ingres (1780-1867). More on this painting
Saint Veronica
Oil on wood
Height: 0.28 m; Width: 0.49 m
Louvre Museum
The canvas seems to represent Veronica's fainting when she unwraps the veil used to clean the face of Jesus on the way to Calvary and sees the Holy Face.
The story of the image's origin is related to the sixth Station of the Cross, wherein Saint Veronica, encountering Jesus along the Via Dolorosa to Calvary, wipes the blood and sweat from his face with her veil. According to some versions, St. Veronica later traveled to Rome to present the cloth to the Roman Emperor Tiberius. The veil has been said to quench thirst, cure blindness, and even raise the dead. More on Saint Veronica
Attributed to Paul Delaroche
Braut Christi/ Bride of Christ
Oil on canvas
42x32 cm
Private collection
The mystical wedding is a motif of Judeo - Christian literature , theology and art. The religious idea of a union of God and man is thought and represented under the image of engagement and marriage. In contrast to the wedding of two gods is, in the female side of the mystical marriage to an earthly bride.
In early Christian and rabbinical literature , comments on the Song of Songs gave rise to the image of the marriage of Zion , the Church , the individual soul or a consecrated virgin with God or the Messiah. More on Bride of Christ
Paul Delaroche (1797–1856)
The Temptation of Saint Anthony, c. 1832
Oil on millboard
H 20 x W 16 cm
The Wallace Collection
Saint Anthony or Antony (251–356) was a Christian monk from Egypt, revered since his death as a saint. He is distinguished from other saints named Anthony by various epithets: Anthony the Great, Anthony of Egypt, Anthony the Abbot, Anthony of the Desert, Anthony the Anchorite, and Anthony of Thebes. For his importance among the Desert Fathers and to all later Christian monasticism, he is also known as the Father of All Monks. His feast day is celebrated on January 17 among the Orthodox and Catholic churches and on Tobi 22 in the Egyptian calendar used by the Coptic Church.
The biography of Anthony's life by Athanasius of Alexandria helped to spread the concept of Christian monasticism, particularly in Western Europe via its Latin translations. He is often erroneously considered the first Christian monk, but as his biography and other sources make clear, there were many ascetics before him. Anthony was, however, the first to go into the wilderness, a geographical move that seems to have contributed to his renown. Accounts of Anthony enduring supernatural temptation during his sojourn in the Eastern Desert of Egypt inspired the often-repeated subject of the temptation of St. Anthony in Western art and literature. More Saint Anthony
Paul Delaroche (1797–1856)
Herodias, c. 1843
Oil on canvas
Height: 129 cm (50.7 in); Width: 98 cm (38.5 in)
Wallraf–Richartz Museum
Herodias (15 BC – after 39 AD) was a princess of the Herodian dynasty of Judaea during the time of the Roman Empire.
In the Gospels of Matthew and Mark, Herodias plays a major role in John the Baptist's execution, using her daughter's dance before Antipas and his party guests to ask for the head of the Baptist as a reward. According to the Gospel of Mark, Antipas did not want to put John the Baptist to death, for Antipas liked to listen to John the Baptist preach (Mark 6:20). Furthermore, Antipas may have feared that if John the Baptist were to be put to death, his followers would riot. The Gospel of Luke amplifies the role of Herod by omitting these details. More on Herodias
Delaroche recognized his lack of experience in religious painting and so travelled for one year in Italy to educate himself on the religious works of the past. In 1837 he exhibited St. Cecilia (See above), which was the first of his significant religious paintings. Delaroche's change of subject was less impressive to French critics than his previous works.
After Paul Delaroche
STRAFFORD ON HIS WAY TO EXECUTION
Oil on canvas
12 3/4 x 15 1/2 in.
Private collection
Thomas Wentworth, 1st Earl of Strafford, KG (13 April 1593 (NS) – 12 May 1641) was an English statesman and a major figure in the period leading up to the English Civil War. He served in Parliament and was a supporter of King Charles I. From 1632 to 1640 he was Lord Deputy of Ireland, where he established a strong authoritarian rule. Recalled to England, he became a leading advisor to the King, attempting to strengthen the royal position against Parliament. When Parliament condemned Wentworth to death, Charles reluctantly signed the death warrant and Wentworth was executed. More on Thomas Wentworth
Paul Delaroche (1797–1856)
The State Barge of Cardinal Richelieu on the Rhone, c. 1829
Oil on canvas
Height: 56 cm (22 in); Width: 97 cm (38.1 in)
The Wallace Collection
It was believed by some historians that the roots of the French Revolution lay in the French Crown’s policy of expanding its power at the expense of its natural supporters, the aristocracy. Two of the main instigators of this policy had been the great seventeenth-century ministers Cardinal Richelieu and Cardinal Mazarin. Here Richelieu (1585–1642) is shown taking his prisoners, two aristocratic conspirators, Cinq-Mars and de Thou, up the river Rhône to be executed. The composition is indebted to Alfred de Vigny’s description of the scene in his novel 'Cinq-Mars' (1826). More on this painting
Paul Delaroche (1797–1856)
La Jeune Martyre/ The Young Martyr, c. 1855
Oil on canvas
Height: 171 cm (67.3 in); Width: 148 cm (58.2 in)
Louvre Museum
His dramatic paintings include Strafford Led to Execution (See above), depicting the English Archbishop Laud stretching his arms out of the small high window of his cell to bless Thomas Wentworth, 1st Earl of Strafford, as Strafford passes along the corridor to be executed, and the Assassination of the duc de Guise at Blois (See below). Another famous work shows Cardinal Richelieu in a gorgeous barge, preceding the boat carrying Cinq-Mars and De Thou carried to their execution (See above). Other important Delaroche works include The Princes in the Tower (See above) and La Jeune Martyre (See above) .
The Assassination of the Duke of Guise by the Huguenot Jean de Poltrot at the Siege of Orléans in 1563 represents a critical turning point in the French Wars of Religion. It would be the first major assassination in what would become a blood feud between the various aristocratic houses which would see the deaths of Louis, Prince of Condé and the St. Bartholomew's Day massacre follow.[1] It also proved a decisive factor in bringing the first War of Religion to a close in the Edict of Amboise. More on the Assassination of the Duke of Guise
Paul Delaroche (1797-1856)
Charles I Insulted by Cromwell's Soldiers, c. 1837
Oil on canvas
300 cm × 400 cm (120 in × 156 in)
National Gallery, London
Charles I Insulted features Charles I, the King of England, who had by 1648 lost the Second English Civil War fought against Oliver Cromwell's New Model Army, after the Battle of Preston. By January 1649, he was being put on trial for treason, and on 30 January, he was beheaded.
The painting was displayed as part of the Bridgewater Collection in London, although it was latterly thought to have been lost when, during The Blitz of 1941, a German bomb struck close to Bridgewater House, causing shrapnel damage to the canvas in the ensuing explosion.
The painting depicts Charles in the days before his execution, being bullied and taunted by Cromwell's defiant troops, one of whom is blowing pipe smoke in his face. The deposed king remains calm, holding a book which he appears to have been reading. More on this painting
Paul Delaroche (1797–1856)
The Assassination of the Duke of Guise, c. 1834
Oil on canvas
Height: 570 mm (22.44 in); Width: 980 mm (38.58 in)
Condé Museum
Delaroche's work sometimes contained historical inaccuracies. Cromwell lifting the Coffin-lid and looking at the Body of Charles is based on an urban legend, and The Execution of Lady Jane Grey is represented as taking place in a dungeon, which is inaccurate. He tended to care more about dramatic effect than historical truth: see also The King in the Guardroom, where villainous Puritan soldiers blow tobacco smoke in the face of King Charles (See above), and Queen Elizabeth Dying on the Ground (See above).
Hémicycle des Beaux-arts, c. between 1841 and 1842
Oil and wax on canvas
H: 16 3/8 x W: 101 5/16 in. (41.6 x 257.3 cm)
École des Beaux-Arts, Paris, France
Paul Delaroche (1797–1856)
Detail, right portion; Hémicycle des Beaux-arts, c. between 1841 and 1842
Detail, right portion; Hémicycle des Beaux-arts, c. between 1841 and 1842
Oil and wax on canvas
H: 16 3/8 x W: 101 5/16 in. (41.6 x 257.3 cm)
École des Beaux-Arts, Paris, France
Paul Delaroche (1797–1856)
Detail, center portion; Hémicycle des Beaux-arts, c. between 1841 and 1842
Detail, center portion; Hémicycle des Beaux-arts, c. between 1841 and 1842
Oil and wax on canvas
H: 16 3/8 x W: 101 5/16 in. (41.6 x 257.3 cm)
École des Beaux-Arts, Paris, France
Paul Delaroche (1797–1856)
Detail, left portion; Hémicycle des Beaux-arts, c. between 1841 and 1842
Detail, left portion; Hémicycle des Beaux-arts, c. between 1841 and 1842
Oil and wax on canvas
H: 16 3/8 x W: 101 5/16 in. (41.6 x 257.3 cm)
École des Beaux-Arts, Paris, France
After 1837, Delaroche stopped exhibiting his work altogether. The disappointing public reception of his painting, St. Cecilia (See above), along with his overall rejection of Davidian values in French society and government led him to his “self-imposed exile from the government-sponsored Salons.” Delaroche then commenced the creation of his most famous work, The Hemicycle, painted on a semicircular saloon at L’Ecole des Beaux-Arts. The Hemicycle was a 27-meter panoramic that included over seventy of the most famous artists since Antiquity. The artists included represent Gothic, Greek, Roman, and Renaissance art. The subjects of this painting appeal to the academic taste of the nineteenth-century. Delaroche did not complete this project alone; four of his students assisted him and together they worked from 1837 to 1841. In 1855 the work was severely damage by fire and Delaroche spent the last year of his life restoring his work. Delaroche died in 1856 and restoration was taken over by Tony Robert-Fleury, a student of Delaroche. More on Paul Delaroche
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