Abstract
This paper explores Eugene Delacroix's best known work of political romanticism, "Liberte Leading the People", attending to its iconographic, allegorical appeal, and the iconology of symbols and connected meanings. Like all art of the kind, the canvas appeals to human emotive tendencies and beliefs, as opposed to the more banal and disputed facts of July 1830 that saw the house of Orleans brought to power.

From the Paper
"Iconography addresses the meaning of works of art, as compared to their form, towards exploration of iconology, as opposed to the viewer's merely intuitive recognition of what a work represents. Panofsky outlined the iconographic approach's focus on images and allegories as compared to more symbolic values obtained through iconological interpretation. (Meaning 40-41) James Rubin's article on Eugene Delacroix's work of the 1820s describes a young man whose career coincided with the rise of French romanticism, in the dissatisfaction preceding the revolution of July 28, 1830."

Tags:delacroix, july1830, meanings

Abstract
This paper discusses artist Eugene Delacroix's journal, illustrating the aspects of the journal that contribute to his work. The paper discusses the works, the journal entries and what type of personality the journal seems to portray for the painter. The paper portrays how Delacroix's words in the journal give insight as to how his art reflected who he was and provides the world with an understanding of how the art is the artist.

From the Paper
"Throughout history it has been believed that artists place a bit of themselves into each work of art they produce. One classic artist, Eugene Delacroix provided the world with a tool by which to measure that assumption. Delacroix wrote his thoughts, feelings and soul into a journal that has since been translated for the world to read. His words in the journal give insight as to how his art reflected who he was and provides the world with an understanding of how the art is the artist."

Tags:romanticism, diary, France

Abstract
The paper discusses two paintings of French artists that refer to different historical periods of art history, to different art styles, and present different themes. The first painting is "Liberty Leading the People" by Eugene Delacroix, a work that glorified the revolution of 1830 in France, and the second is Claudet Monet's "Boulevard des Capucines," which showed the daily life of Paris as a center of art and culture. The first painting refers to French progressive Romanticism, and the second one to Impressionism.

From the Paper
"In 1831 Eugene Delacroix showed his "Liberty Leading the People" in Paris salon, which was dedicated to "three glorious days" of July revolution, 1830 . The power, democratic manner and brave artistic manner of the painting caused shock and admiration of viewers. The painting was quickly returned to Delacroix as government officials were afraid of its revolutionary appeal. It was returned to public in 1855 when it came to Louvers. Inspired by the revolutionary events of 1830, Delacroix decided to reflect his impressions in the painting that would demonstrate the main value of the nation the seek of freedom and democracy. This power is presented in the image of young beautiful woman, who leads the crowd of rise. Her fine image, energy and internal freedom may compare her to Greek goodness of victory Nica . She holds French flag in one hand and a gun in another, Phrygian cap on her head is an ancient symbol of emancipation from slavery. In order to outline her leading image, Delacroix pictured her in the center and made her imaged the lithest in the composition. She is like the source of light, which lights the thirst of freedom in the crowd. The boy, which stands next to the young woman is full of enthusiasm and in his seek for freedom he even forestalls the woman. Realism of the painting is defined by the expressiveness of people, their firm faces and their motion. Because people are shown in motion, the painting looks more realistic and impressive."

Tags:impressionism, romanticism, french, revolution, painter

Abstract
This paper provides three essays on art. The first discusses Mary Cassatt's painting "The Bath," including the variety of influences on her unique style. The second provides an account of the meaning behind Frank Lloyd Wright's use of line, color, space and other architectural elements in his design for Fallingwater. The third provides a discussion of the personal appeal for the author in Eugene Delacroix's "Liberty Leading the People."

From the Paper
"Mary Cassatt was a lone American among the French impressionists. Her influence from impressionism and her intimate familiarity with the techniques of Japanese prints led to her series of works featuring women in intimate or personal experiences. Of these paintings, "The Bath" is an oil on canvas that features a mother giving her female daughter a hand bath. This analysis will discuss the various styles employed in the work by Cassatt who Christopher labels a sponge..."

Tags:maternity, Rococo, impressionism, symbolism, nature, cantilever, glass, stone, revolution, sacrifice, emotions, Paris, ideals

Abstract
This paper examines and analyzes the career of the French painter Eugene Delacroix. The paper proceeds to demonstrate how he represents a modernist viewpoint, and cites various reasons to support and defend that position.

Abstract
This paper explains that, during the romantic movement in Spain and France, which is described as an anti-intellectual movement in both art and literature, artists of this tradition actively commented against the traditions of aristocratic domination of politics and societal norms and supported the rise of nationalism. The author points out that both Goya and Delacroix related their artistic visions and imagination to actual events and made political statements through their depiction of war. The paper explores this theme in Goya's "The Third of May 1808", which he created in response to the tyranny of Napoleon's forces, and in Delacroix's "Massacres at Chios, 1824", which was his objection to the continuing social repression of the professional and peasant classes.

From the Paper
"The decades preceding and following the turn of the 18th century were violent and bloody. It was an era of much political and social upheaval where people, ranging from both intellectual and educated to peasants, began to question the role and power of the aristocracy whom they began to view as irresponsible despots . In particular, the divine right of royalty was questioned along with the rules they imposed upon their subjects as well as the war atrocities they caused. Artists, including painters began to portray the fall out of this political upheaval."

Tags:anti-intellectual, politics, nationalism, napoleon, event

Abstract
The paper examines how the primary similarities between these two works by Poussin and Delacroix reflect the multi-figurative depiction of mythological interpretations within the function and placement of these large-scale works in a gallery setting. The paper describes how by capturing the critical moment of violence in these two works, the painters create a line of motion that connects all of the forms together, providing a central axis for varying movements that might move out of this line.

Tags:art, history, studies

Abstract
This paper discusses how revolution and social turmoil have always been accompanied by artistic creation. It examines Francisco Goya's "The Third of May 1808," Eugene Delacroix's "Liberty Leading the People 1830," and Ernest Meissonier's "Memory of the Civil War (the Barricades) 1849" and shows how they are three great pieces, which portray the glory and atrocity, the tragedy and humanity, of three revolutions.

From the Paper
"Francisco Goya's "The Third of May, 1808" tells the story of an execution in the aftermath of the Spanish insurrections that protested Napoleon's invasion of Spain. In this famous painting, a line of soldiers take aim at a single prisoner. To his left a pile of bleeding corpses demonstrate his inevitable fate. To his right a line of frightened, sobbing prisoners illustrate the immediate backstory for this moment. He is caught in the spotlight between anticipation and culmination, at the very second before death. Yet unlike the living he is not portrayed as frightened or even defeated, but as a gloriously triumphant figure. The scene is painted in dark earth tones, and all the figures have shadowed faces and dark clothes. The only light in the entire picture radiates from the prisoner's central figure (strictly speaking, he is illuminated by a spotlight, but the still shines brighter than the light itself)."

Tags:spain, france, napoleon, liberty

Abstract
This paper presents a critical analysis of the artists, Meissonier, Delacroix and Goya. The paper explains that they were not only realists, but also patriots and people's artists, as the theme of people took a central place in most of their works. The paper examines three art pieces: Francisco Goya's "The Third of May 1808," Eugene Delacroix's "Liberty Leading the People 1830" and Ernest Meissonier's "Memory of the Civil War (the Barricades) 1849", which show people in the turning point of country's history. Through these pieces of art, the paper explores the horror, tragedy, humanism and optimism of three revolutions.

From the Paper
"Nineteenth century in Europe was a century of changes in political, economical and social structure of society. The course of events was often too sudden for society, oppressed by absolutism of reigned monarchy, to react adequately so it had no other way but only to revolt. France, Spain and other European countries had suffered a long warfare of Napoleon's invasions, they were tired of unbearable social injustice and poverty and so the unrest of society often turned into a legal right of the nation to determine its destiny by revolution. In Spain it was a revolt against the regime of Napoleon who invaded the country and wanted to establish imperial order on its territory. France on the other hand had experienced a set of bloody revolutions and restorations of monarchy starting from 1789."

Tags:realism, napolean, civil, war

Abstract
This paper compares and contrasts Eugene Delacroix's "Death of Sardanapalus" and Pablo Picasso's "Les Demoiselles d'Avignon" to illustrate the great many changes that took place in painting over a period of 80 years. The paper suggests that both of the paintings are representative of something new in artistic terms. It goes on to suggest that, in spite of the many changes that did take place, there remained an important similarity in the approach both artists took too the subject matter of their paintings; in these cases female nudes.

From the Paper
"Eugene Delacroix's Death of Sardanapalus (1826) and Pablo Picasso's Les Demoiselles d'Avignon (1907) were painted only eighty years apart and demonstrate the immense changes that had taken place in painting in that span of time. Curiously, however, they display a remarkable similarity in their approach to subject matter which may not be immediately apparent. Both of these paintings represented something new in artistic terms."

Tags:female, nudes, Cubist, ideas, Byron, Assyrian, king