Paul Delaroche
Paul Delaroche entered the world on the 17th of July 1797 in Paris. He was born into a family deeply embedded in the art trade as dealers, collectors, and administrators. His father Gregoire-Hippolyte Delaroche ran a prominent gallery that exposed Paul to fine art from his earliest years. The artist was the second son in a household where his brother Jules-Hippolyte already focused on history painting. This familial dynamic shaped Paul's initial path when he began formal training at age nineteen. He studied under Louis Étienne Watelet at L'École des Beaux-Arts while his father encouraged landscape work. After two years of academic instruction, Paul voiced his lack of interest in landscapes. He left the school at the end of 1817 driven by disenchantment with the French system. The following year he entered the studio of Antoine-Jean Gros to pursue history painting instead.
Delaroche debuted at the Salon of 1822 with Christ Descended from the Cross and Jehosheba Saving Joash. Géricault praised the latter work which supported the beginning of Romanticism. His time at the École tied him to Academicism while his mentorship under Gros aroused an interest in historical representation through Romanticism. Joan of Arc in Prison exhibited in 1824 reflected this middle ground he occupied between conflicting styles. Subjects from medieval and sixteenth-century history appealed to Romantics while the accuracy of information appealed to Academics. Delaroche studied English history painting traditions and incorporated them into his own productions. In 1828 he exhibited Death of Queen Elizabeth which brought him popularity in Britain during the 1830s and 1840s. Cromwell Gazing at the Body of Charles I appeared in 1831 followed by The Princes in the Tower that same year. Execution of Lady Jane Grey completed in 1833 became his most acclaimed piece of the era. The Académie des Beaux-Arts elected him a member in 1832 and appointed him professor at L'Ecole the following year.
Delaroche's focus on English history secured his fame across Europe during the early nineteenth century. He produced some of his most lauded works depicting figures like Cromwell and Charles I. Cromwell lifting the Coffin-lid and looking at the Body of Charles is based on an urban legend rather than strict fact. He tended to care more about dramatic effect than historical truth as seen in The King in the Guardroom. Villainous Puritan soldiers blow tobacco smoke in the face of King Charles in this composition. Queen Elizabeth Dying on the Ground shows another instance where drama outweighed accuracy. Strafford Led to Execution depicts the Archbishop stretching his arms out of a small high window to bless Thomas Wentworth. Assassination of the duc de Guise at Blois remains another famous work from this period. Cardinal Richelieu appears in a gorgeous barge preceding the boat carrying Cinq-Mars and De Thou to their execution. These paintings balanced literary value with theatricality and narrativity for public consumption.
In 1837 Delaroche exhibited St. Cecilia which marked his first significant religious painting. This change of subject was less impressive to French critics than his previous historical works. The disappointing reception led him to stop exhibiting his work altogether after that year. His overall rejection of Davidian values in French society and government caused self-imposed exile from government-sponsored Salons. Critics found the painting's austere manner ill-received compared to his earlier output. At the time of his death in 1856 he was still working on a series of four scenes from the Life of the Virgin. Only one work from this series was completed: the Virgin Contemplating the Crown of Thorns. He painted all subjects in the same light whether they were great historical figures or founders of Christianity. German literary critic Heinrich Heine noted that Delaroche had no great predilection for the past itself but rather its representation.
Delaroche received the commission for the Hémicycle in 1837 from architect Félix Duban. This mural measured 27 meters long and occupied the hemicycle of the award theatre at L'École des Beaux-Arts. It represented seventy-five great artists of all ages assembled in conversation groups on either side of white marble steps. Three thrones filled by Phidias, Ictinus, and Apelles symbolized the unity of sculpture, architecture, and painting. To supply the female element he introduced genii or muses leaning against the balustrade as idealized figures. The painting is not fresco but done directly on the wall in oil using encaustic mixtures with hot wax. Four students assisted him and together they worked from 1837 to 1841. In 1855 the work was severely damaged by fire before completion. Delaroche spent the last year of his life restoring it until his death on the 4th of November 1856. Restoration was finished by Joseph-Nicolas Robert-Fleury after Paul's passing.
Paul married Louise Vernet in 1835 which marked the absorbing passion of his life. He exhibited Head of an Angel that same year based on a study of her. It is said that Delaroche never recovered from the shock of her death in 1845 at age 31. After her loss he produced a sequence of small elaborate pictures of incidents in Jesus's Passion. He focused attention on human drama such as Mary hearing the crowd cheering Jesus on the Via Dolorosa. Another piece shows St. John escorting Mary home after her son's death. His studio on Rue Mazarine housed most works completed during this difficult period. Among his notable students were Thomas Couture, Jean-Léon Gérôme, and Jean-François Millet. He also mentored American painter Alfred Boisseau who lived from 1823 to 1901. Delaroche died in 1856 leaving behind a legacy defined by both historical accuracy and emotional intensity.
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Common questions
When was Paul Delaroche born and where did he enter the world?
Paul Delaroche entered the world on the 17th of July 1797 in Paris. He was born into a family deeply embedded in the art trade as dealers, collectors, and administrators.
What year did Paul Delaroche die and what work was he restoring at that time?
Paul Delaroche died on the 4th of November 1856 while spending his last year restoring the Hémicycle mural. The restoration was finished by Joseph-Nicolas Robert-Fleury after Paul's passing.
Which painting became Paul Delaroche most acclaimed piece during the 1830s?
Execution of Lady Jane Grey completed in 1833 became Paul Delaroche most acclaimed piece of the era. This work contributed to his popularity in Britain during the 1830s and 1840s alongside Death of Queen Elizabeth.
Who were some notable students mentored by Paul Delaroche?
Notable students mentored by Paul Delaroche included Thomas Couture, Jean-Léon Gérôme, and Jean-François Millet. He also mentored American painter Alfred Boisseau who lived from 1823 to 1901.
How long did it take Paul Delaroche to complete the Hémicycle mural?
Four students assisted Paul Delaroche and together they worked on the Hémicycle from 1837 to 1841. The work measured 27 meters long and occupied the hemicycle of the award theatre at L'École des Beaux-Arts.