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"Survivor is an action game released in 1987 by the Spanish software house Topo Soft and later re-released in the UK by U.S. Gold. It was published for several 8-bit formats including Amstrad CPC, MSX and ZX Spectrum. Overview The player takes control of an alien (who bears a striking resemblance to the race of aliens from the Alien series of films) aboard a huge spacecraft filled with many extraterrestrial creatures. The player must perpetuate the alien's race by finding ten pods on the ship and introducing them to the incubators. The ship itself is split into 142 areas divided into four zones. These zones are joined by doors or air-vents (which the player can crawl through). The zones also consist of different levels connected by lifts. The pods are found in large rooms which are different from the corridors and vents which make up much of the spacecraft and more closely resemble the sort of room found in 1980s platform games. Some creatures on the ship are dangerous and the player can spit paralysing acid at them. The player has a limited amount of energy which can be sapped by hostile creatures on the ship or defence systems. This energy can be replenished by managing to place a pod in an incubator or by eating one of the technicians which can be found wandering around the ship. External links Your Sinclair review Category:1987 video games Category:ZX Spectrum games Category:Amstrad CPC games Category:MSX games Category:Europe-exclusive video games Category:Video games developed in Spain "
"Ligurian may mean: * Ligurian, pertaining to modern Liguria * Ligurian, pertaining to the ancient Ligures * Ligurian (Romance language), a modern language spoken in parts of Italy, France, Monaco and Argentina * Ligurian (ancient language), an extinct language spoken by the ancient Ligures * Italian bee or Ligurian bee * Ligurian Sea * Ligurian Sea Cetacean Sanctuary Category:Language and nationality disambiguation pages "
"Ferdinand Victor Eugène Delacroix ( ; ; 26 April 1798 – 13 August 1863) was a French Romantic artist regarded from the outset of his career as the leader of the French Romantic school.Noon, Patrick, et al., Crossing the Channel: British and French Painting in the Age of Romanticism, p. 58, Tate Publishing, 2003. In contrast to the Neoclassical perfectionism of his chief rival Ingres, Delacroix took for his inspiration the art of Rubens and painters of the Venetian Renaissance, with an attendant emphasis on colour and movement rather than clarity of outline and carefully modelled form. Dramatic and romantic content characterized the central themes of his maturity, and led him not to the classical models of Greek and Roman art, but to travel in North Africa, in search of the exotic.Gombrich, E.H., The Story of Art, pages 504–6. Phaidon Press Limited, 1995. Friend and spiritual heir to Théodore Géricault, Delacroix was also inspired by Lord Byron, with whom he shared a strong identification with the "forces of the sublime", of nature in often violent action.Clark, Kenneth, Civilisation, page 313. Harper and Row, 1969. However, Delacroix was given to neither sentimentality nor bombast, and his Romanticism was that of an individualist. In the words of Baudelaire, "Delacroix was passionately in love with passion, but coldly determined to express passion as clearly as possible."Wellington, Hubert, The Journal of Eugène Delacroix, introduction, page xiv. Cornell University Press, 1980. Together with Ingres, Delacroix is considered one of the last old Masters of painting, and one of the few who was ever photographed. As a painter and muralist, Delacroix's use of expressive brushstrokes and his study of the optical effects of colour profoundly shaped the work of the Impressionists, while his passion for the exotic inspired the artists of the Symbolist movement. A fine lithographer, Delacroix illustrated various works of William Shakespeare, the Scottish author Walter Scott and the German author Johann Wolfgang von Goethe. Early life 237x237px Eugène Delacroix was born on 26 April 1798 at Charenton- Saint-Maurice in Île-de-France, near Paris. His mother was named Victoire Oeben, the daughter of the cabinet-maker Jean-François Oeben. He had three much older siblings. Charles-Henri Delacroix (1779–1845) rose to the rank of General in the Napoleonic army. Henriette (1780–1827) married the diplomat Raymond de Verninac Saint-Maur (1762–1822). Henri was born six years later. He was killed at the Battle of Friedland on 14 June 1807. There are medical reasons to believe that Eugène's legitimate father, Charles-François Delacroix, was not able to procreate at the time of Eugène's conception. Talleyrand, who was a friend of the family and successor of Charles Delacroix as Minister of Foreign Affairs, and whom the adult Eugène resembled in appearance and character, considered himself as his real father. André Castelot (Talleyrand ou le cynisme [Paris, Librairie Perrin, 1980]) discusses and rejects the theory, pointing out that correspondence between Charles and his wife during the pregnancy shows no sign of tension or resentment. After assuming his office as foreign minister Talleyrand, dispatched Delacroix to The Hague in the capacity of French ambassador to the then Batavian Republic. Delacroix who at the time suffered from erectile dysfunction returned to Paris in early September 1797, only to find his wife pregnant. Talleyrand went on to assist Eugène in the form of numerous anonymous commissions. Throughout his career as a painter, he was protected by Talleyrand, who served successively the Restoration and king Louis-Philippe, and ultimately as ambassador of France in Great Britain, and later by Talleyrand's grandson, Charles Auguste Louis Joseph, duc de Morny, half-brother of Napoleon III and speaker of the French House of Commons. His legitimate father, Charles Delacroix, died in 1805, and his mother in 1814, leaving 16-year-old Eugène an orphan. His early education was at the Lycée Louis-le-Grand, and at the Lycée Pierre Corneille in Rouen where he steeped himself in the classics and won awards for drawing. In 1815 he began his training with Pierre-Narcisse Guérin in the neoclassical style of Jacques-Louis David. An early church commission, The Virgin of the Harvest (1819), displays a Raphael-esque influence, but another such commission, The Virgin of the Sacred Heart (1821), evidences a freer interpretation.Jobert, Barthélémy, Delacroix, page 62. Princeton University Press, 1997. It precedes the influence of the more colourful and rich style of the Flemish Baroque painter Peter Paul Rubens, and fellow French artist Théodore Géricault, whose works marked an introduction to Romanticism in art. The impact of Géricault's The Raft of the Medusa was profound, and stimulated Delacroix to produce his first major painting, The Barque of Dante, which was accepted by the Paris Salon in 1822. The work caused a sensation, and was largely derided by the public and officialdom, yet was purchased by the State for the Luxembourg Galleries; the pattern of widespread opposition to his work, countered by a vigorous, enlightened support, would continue throughout his life.Wellington, page xii. Two years later he again achieved popular success for his The Massacre at Chios. Career=Chios and Missolonghi= Massacre at Chios (1824), Louvre Delacroix's painting of the massacre at Chios shows sick, dying Greek civilians about to be slaughtered by the Turks. One of several paintings he made of this contemporary event, expressed the official policy for the Greek cause in their war of independence against the Turks, war sustained by English, Russian and French governments. Delacroix was quickly recognized by the authorities as a leading painter in the new Romantic style, and the picture was bought by the state. His depiction of suffering was controversial, however, as there was no glorious event taking place, no patriots raising their swords in valour as in David's Oath of the Horatii, only a disaster. Many critics deplored the painting's despairing tone; the artist Antoine-Jean Gros called it "a massacre of art". The pathos in the depiction of an infant clutching its dead mother's breast had an especially powerful effect, although this detail was condemned as unfit for art by Delacroix's critics. A viewing of the paintings of John Constable and the watercolour sketches and art of Richard Parkes Bonnington prompted Delacroix to make extensive, freely painted changes to the sky and distant landscape.Wellington, pages xii, 16. Greece on the Ruins of Missolonghi (1826), Musée des Beaux-Arts, Bordeaux Delacroix produced a second painting in support of the Greeks in their war for independence, this time referring to the capture of Missolonghi by Turkish forces in 1825.Jobert, page 127. With a restraint of palette appropriate to the allegory, Greece Expiring on the Ruins of Missolonghi displays a woman in Greek costume with her breast bared, arms half-raised in an imploring gesture before the horrible scene: the suicide of the Greeks, who chose to kill themselves and destroy their city rather than surrender to the Turks. A hand is seen at the bottom, the body having been crushed by rubble. The painting serves as a monument to the people of Missolonghi and to the idea of freedom against tyrannical rule. This event interested Delacroix not only for his sympathies with the Greeks, but also because the poet Byron, whom Delacroix greatly admired, had died there. =Romanticism= The Death of Sardanapalus (1827), Philadelphia Museum of Art Horse Frightened by a Storm, watercolour, 1824 A trip to England in 1825 included visits to Thomas Lawrence and Richard Parkes Bonington, and the colour and handling of English painting provided impetus for his only full- length portrait, the elegant Portrait of Louis-Auguste Schwiter (1826–30). At roughly the same time, Delacroix was creating romantic works of numerous themes, many of which would continue to interest him for over thirty years. By 1825, he was producing lithographs illustrating Shakespeare, and soon thereafter lithographs and paintings from Goethe's Faust. Paintings such as The Combat of the Giaour and Hassan (1826), and Woman with Parrot (1827), introduced subjects of violence and sensuality which would prove to be recurrent.Jobert, page 98. These various romantic strands came together in The Death of Sardanapalus (1827–28). Delacroix's painting of the death of the Assyrian king Sardanapalus shows an emotionally stirring scene alive with beautiful colours, exotic costumes and tragic events. The Death of Sardanapalus depicts the besieged king watching impassively as guards carry out his orders to kill his servants, concubines and animals. The literary source is a play by Byron, although the play does not specifically mention any massacre of concubines. Sardanapalus' attitude of calm detachment is a familiar pose in Romantic imagery in this period in Europe. The painting, which was not exhibited again for many years afterward, has been regarded by some critics as a gruesome fantasy involving death and lust. Especially shocking is the struggle of a nude woman whose throat is about to be cut, a scene placed prominently in the foreground for maximum impact. However, the sensuous beauty and exotic colours of the composition make the picture appear pleasing and shocking at the same time. A variety of Romantic interests were again synthesized in The Murder of the Bishop of Liège (1829). It also borrowed from a literary source, this time Scott, and depicts a scene from the Middle Ages, that of the murder of Louis de Bourbon, Bishop of Liège amidst an orgy sponsored by his captor, William de la Marck. Set in an immense vaulted interior which Delacroix based on sketches of the Palais de Justice in Rouen and Westminster Hall, the drama plays out in chiaroscuro, organized around a brilliantly lit stretch of tablecloth. In 1855, a critic described the painting's vibrant handling as "Less finished than a painting, more finished than a sketch, The Murder of the Bishop of Liège was left by the painter at that supreme moment when one more stroke of the brush would have ruined everything".Jobert, pages 116–18. =Liberty Leading the People= Liberty Leading the People (1830), Louvre, Paris Delacroix's most influential work came in 1830 with the painting Liberty Leading the People, which for choice of subject and technique highlights the differences between the romantic approach and the neoclassical style. Less obviously, it also differs from the Romanticism of Géricault, as exemplified by The Raft of the Medusa. > Delacroix felt his composition more vividly as a whole, thought of his > figures and crowds as types, and dominated them by the symbolic figure of > Republican Liberty which is one of his finest plastic > inventions...Wellington, page xv. Probably Delacroix's best-known painting, Liberty Leading the People is an unforgettable image of Parisians, having taken up arms, marching forward under the banner of the tricolour representing liberty, equality, and fraternity. Although Delacroix was inspired by contemporary events to invoke this romantic image of the spirit of liberty, he seems to be trying to convey the will and character of the people, rather than glorifying the actual event, the 1830 revolution against Charles X, which did little other than bring a different king, Louis-Philippe, to power. The warriors lying dead in the foreground offer poignant counterpoint to the symbolic female figure, who is illuminated triumphantly against a background of smoke.Allard, Sébastien, Côme Fabre, Dominique de Font-Réaulx, Michèle Hannoosh, Mehdi Korchane, and Asher Ethan Miller (2018). Delacroix. New York, NY: Metropolitan Museum of Art. pp. 74–76. . Christ on the Sea of Galilee, 1854 Although the French government bought the painting, by 1832 officials deemed its glorification of liberty too inflammatory and removed it from public view.Allard, Sébastien, Côme Fabre, Dominique de Font-Réaulx, Michèle Hannoosh, Mehdi Korchane, and Asher Ethan Miller (2018). Delacroix. New York, NY: Metropolitan Museum of Art. p. 76. . Nonetheless, Delacroix still received many government commissions for murals and ceiling paintings.Allard, Sébastien, Côme Fabre, Dominique de Font-Réaulx, Michèle Hannoosh, Mehdi Korchane, and Asher Ethan Miller (2018). Delacroix. New York, NY: Metropolitan Museum of Art. p. 103. . Following the Revolution of 1848 that saw the end of the reign of King Louis Philippe, Delacroix' painting, Liberty Leading the People, was finally put on display by the newly elected President, Louis Napoleon (Napoleon III). It is exhibited in the Louvre museum in Paris; although from December 2012 until 2014 it was on exhibit at Louvre-Lens in Lens, Pas-de-Calais. The boy holding a pistol aloft on the right is sometimes thought to be an inspiration for the Gavroche character in Victor Hugo's 1862 novel, Les Misérables.Néret, Gilles Delacroix, page 26. Taschen, 2000. . Retrieved 27 May 2017. Travel to North Africa Fanatics of Tangier (1838), Minneapolis Institute of Art In 1832, Delacroix traveled to Spain and North Africa in company with the diplomat Charles-Edgar de Mornay, as part of a diplomatic mission to Morocco shortly after the French conquered Algeria. He went not primarily to study art, but to escape from the civilization of Paris, in hopes of seeing a more primitive culture. He eventually produced over 100 paintings and drawings of scenes from or based on the life of the people of North Africa, and added a new and personal chapter to the interest in Orientalism.Jobert, page 140. Delacroix was entranced by the people and the costumes, and the trip would inform the subject matter of a great many of his future paintings. He believed that the North Africans, in their attire and their attitudes, provided a visual equivalent to the people of Classical Rome and Greece: > The Greeks and Romans are here at my door, in the Arabs who wrap themselves > in a white blanket and look like Cato or Brutus... Self-portrait, 1837. "Eugène Delacroix was a curious mixture of skepticism, politeness, dandyism, willpower, cleverness, despotism, and finally, a kind of special goodness and tenderness that always accompanies genius".Baudelaire, quoted in Jobert, page 27. He managed to sketch some women secretly in Algiers, as in the painting Women of Algiers in their Apartment (1834), but generally he encountered difficulty in finding Muslim women to pose for him because of Muslim rules requiring that women be covered. Less problematic was the painting of Jewish women in North Africa, as subjects for the Jewish Wedding in Morocco (1837–1841). While in Tangier, Delacroix made many sketches of the people and the city, subjects to which he would return until the end of his life.Wellington, page xvi. Animals—the embodiment of romantic passion—were incorporated into paintings such as Arab Horses Fighting in a Stable (1860), The Lion Hunt (of which there exist many versions, painted between 1856 and 1861), and Arab Saddling his Horse (1855). Musical Inspirations Medea about to Kill Her Children, 1838 The Barque of Dante (1822), Louvre Delacroix drew inspiration from many sources over his career, such as the literary works of William Shakespeare and Lord Byron, or the artistry of Michelangelo. But from beginning to end of his life, he was in part characterized by a constant need for music, saying in 1855, "nothing can be compared with the emotion caused by music; that it expresses incomparable shades of feeling." He had said, while working at Saint Sulpice, that the music put him in a state of "exaltation" which inspired his painting. It was often in music, in the most melancholy renditions of Chopin, or the "pastoral" works of Beethoven that Delacroix was often able to draw the most emotion and inspiration. At one point during his life, Delacroix befriended and made portraits of the composer Chopin; in his journal, Delacroix praised him frequently. Lion Hunt (1855), Nationalmuseum, Stockholm Lion Hunt (1860/61), Art Institute of Chicago Murals and later life In 1838 Delacroix exhibited Medea about to Kill Her Children, which created a sensation at the Salon. His first large-scale treatment of a scene from Greek mythology, the painting depicts Medea clutching her children, dagger drawn to slay them in vengeance for her abandonment by Jason. The three nude figures form an animated pyramid, bathed in a raking light which penetrates the grotto in which Medea has hidden. Though the painting was quickly purchased by the State, Delacroix was disappointed when it was sent to the Lille Musée des Beaux-Arts; he had intended for it to hang at the Luxembourg, where it would have joined The Barque of Dante and Scenes from the Massacres of Chios.Jobert, pages 245–6. From 1833 Delacroix received numerous commissions to decorate public buildings in Paris. In that year he began work for the Salon du Roi in the Chambre des Députés, Palais Bourbon, which was not completed until 1837, and began a lifelong friendship with the female artist Marie-Élisabeth Blavot-Boulanger. For the next ten years he painted in both the Library at the Palais Bourbon and the Library at the Palais du Luxembourg. In 1843 he decorated the Church of St. Denis du Saint Sacrement with a large Pietà, and from 1848 to 1850 he painted the ceiling in the Galerie d'Apollon of the Louvre. From 1857 to 1861 he worked on frescoes for the Chapelle des Anges at the Church of St. Sulpice in Paris. They included "The Battle of Jacob with the Angel", "Saint Michael Slaying the Dragon", and "The Expulsion of Heliodorus from the Temple". These commissions offered him the opportunity to compose on a large scale in an architectural setting, much as had those masters he admired, Paolo Veronese, Tintoretto, and Rubens. The work was fatiguing, and during these years he suffered from an increasingly fragile constitution. In addition to his home in Paris, from 1844 he also lived at a small cottage in Champrosay, where he found respite in the countryside. From 1834 until his death, he was faithfully cared for by his housekeeper, Jeanne-Marie le Guillou, who zealously guarded his privacy, and whose devotion prolonged his life and his ability to continue working in his later years.Wellington, pages xxvii–xxviii. In 1862 Delacroix participated in the creation of the Société Nationale des Beaux-Arts. His friend, the writer Théophile Gautier, became chairman, with the painter Aimé Millet acting as deputy chairman. In addition to Delacroix, the committee was composed of the painters Carrier-Belleuse and Puvis de Chavannes. Among the exhibitors were Léon Bonnat, Jean-Baptiste Carpeaux, Charles-François Daubigny, Gustave Doré, and Édouard Manet. Just after his death in 1863, the society organized a retrospective exhibition of 248 paintings and lithographs by Delacroix—and ceased to mount any further exhibitions. The winter of 1862–63 was extremely rough for Delacroix; he was suffering from a bad throat infection which seemed to get worse over the course of the season. On a trip to Champrosay, he met a friend on the train and became exhausted after having a conversation. On 1 June he returned to Paris to see his doctor. Two weeks later, on 16 June, he was getting better and returned to his house in the country. But by 15 July he was sick enough to see his doctor who said he could do nothing more for him. By then, the only food he could eat was fruit. Delacroix realized the seriousness of his condition and wrote his will, leaving a gift for each of his friends. For his trusted housekeeper, Jenny Le Guillou, he left enough money for her to live on while ordering everything in his studio to be sold. He also inserted a clause forbidding any representation of his features, "whether by a death-mask or by drawing or by photography. I forbid it, expressly." On 13 August, Delacroix died, with Jenny by his side. He was buried in Père Lachaise Cemetery. His house, formerly situated along the canal of the Marne, is now near the exit of the motorway leading from Paris to central Germany. Gallery File:Eugène Ferdinand Victor Delacroix 024.jpgMademoiselle Rose, 1817–1824, Louvre File:Eugène Delacroix - Jeune orpheline au cimetière (vers 1824).JPGOrphan Girl at the Cemetery, 1823, Louvre File:Delacroix Louis dOrleans devoilant une maitresse.jpgLouis of Orléans Unveiling his Mistress, c.1825–26, Thyssen-Bornemisza Collection File:Charles-Etienne-Raymond-Victor de Verninac by Delacroix.jpgCharles Étienne Raymond Victor de Verninac, the painter's nephew, c.1825–26. private collection File:Eugène Ferdinand Victor Delacroix 021.jpgThe Combat of the Giaour and Hassan, 1826, Art Institute of Chicago File:Delacroix, Eugène Ferdinand Victor - Woman with a Parrot - 1827.jpgWoman with a Parrot, 1827, Museum of Fine Arts of Lyon File:Delacroix, La Femme aux bas blancs.jpgWoman With White Socks, 1825–1830, Louvre File:Young tiger playing with its mother.jpgA Young Tiger Playing with its Mother, 1830, Louvre File:Eugène Ferdinand Victor Delacroix 049.jpgThe Duke of Morny's Apartment, 1831–1833, Louvre File:Delacroix portrait Desmaisons.JPGPortrait of Dr. François-Marie Desmaisons, 1832–33, Detroit Institute of Arts File:Eugène Delacroix - Fantasia Arabe - Google Art Project.jpgFantasia Arabe, 1833. Frankfurt Städel Museum File:Eugène Ferdinand Victor Delacroix 014.jpgThe Women of Algiers, 1834, Louvre File:Battle of Taillebourg by Delacroix.jpgThe Battle of Taillebourg (draft), 1834-35, Louvre File:Eugène Delacroix - Les Natchez, 1835 (Metropolitan Museum of Art).jpgThe Natchez, 1835, Metropolitan Museum of Art File:Eugène Delacroix - Frédéric Chopin - WGA06194.jpgFrédéric Chopin, 1838, Louvre File:Eugène Ferdinand Victor Delacroix 041.jpgGeorge Sand, 1838, Ordrupgaard-Museum File:Columbus and His Son at La Rábida.JPGColumbus and His Son at La Rábida, 1838, National Gallery of Art File:Jüdische Hochzeit in Marokko-1024.jpgJewish Wedding in Morocco, c.1839, Louvre File:Hamlet und Horatio auf dem Friedhof (Eugène Ferdinand Victor Delacroix).jpgHamlet with Horatio, (the gravedigger scene), 1839, Louvre File:Eugène Delacroix - Christ on the Sea of Galilee - Google Art Project.jpgChrist on the Sea of Galilee, 1841, Nelson-Atkins Museum of Art File:Eugène Delacroix - Collision of Moorish Horsemen - Walters 376.jpgCollision of Moorish Horsemen, 1844, Walters Art Museum File:Delacroix-Marc Aurèle-MBA-Lyon.jpgLast Words of the Emperor Marcus Aurelius, 1844, Musée des Beaux-Arts de Lyon File:São Jorge e o Dragão DELACROIX 1847.jpgSaint George Fighting the Dragon, 1847, Louvre Museum File:Brooklyn Museum - Desdemona Cursed by her Father (Desdemona maudite par son père) - Eugène Delacroix.jpgDesdemona Cursed by her Father (Desdemona maudite par son père), c.1850–1854, Brooklyn Museum File:Eugène Delacroix - Andromeda - Google Art Project.jpgAndromeda, 1852, Museum of Fine Arts, Houston File:Delacroix Andromeda.jpgPerseus and Andromeda, circa 1853, Staatsgalerie Stuttgart File:Eugène Ferdinand Victor Delacroix 025.jpg1855, Moroccan Saddles His Horse, Hermitage Museum File:Eugéne Delacroix - Rider Attacked by a Jaguar - Google Art Project.jpgRider Attacked by a Jaguar, 1855. National Gallery in Prague File:Bride of abydos 1857 950px.jpgThe Bride of Abydos, 1857, Louvre File:Death of Desdemona.jpgThe Death of Desdemona, 1858 File:Ferdinand-Victor-Eugène Delacroix - Horses Coming Out of the Sea - Google Art Project.jpgHorses Leaving the Sea, 1860, The Phillips Collection File:Arab horses fighting in a stable Eugene Delacroix 1860.jpgArab Horses Fighting in a Stable, 1860 File:Eugène Delacroix - Shipwreck on the Coast - Google Art Project.jpgShipwreck on the Coast, 1862, Museum of Fine Arts, Houston File:Eugène Delacroix - Ovide chez les Scythes (1862).jpgOvid among the Scythians, 1862, version in Metropolitan Museum of Art File:Eugène Delacroix, Winter- Juno and Aeolus, oil sketch, 1856. Oil on canvas, Private Collection..jpgWinter: Juno and Aeolus, 1856, private collection (sketch for the painting in the São Paulo Museum of Art) File:Delacroix salon du roi palais bourbon paris 950px.jpgMurals for Salon du Roi, Palais Bourbon, Paris, 1833–1837 File:Eugène Delacroix, Charioteers, NGA 151237.jpgCharioteers, pen and ink on paper, National Gallery of Art Legacy Monument to Delacroix, at the Jardin du Luxembourg Delacroix 's tomb in Père Lachaise Cemetery franc banknote, 1993 At the sale of his work in 1864, 9140 works were attributed to Delacroix, including 853 paintings, 1525 pastels and water colours, 6629 drawings, 109 lithographs, and over 60 sketch books.Wellington, page xxviii. The number and quality of the drawings, whether done for constructive purposes or to capture a spontaneous movement, underscored his explanation, "Colour always occupies me, but drawing preoccupies me." Delacroix produced several fine self-portraits, and a number of memorable portraits which seem to have been done purely for pleasure, among which were the portrait of fellow artist Baron Schwiter, an inspired small oil of the violinist Niccolò Paganini, and Portrait of Frédéric Chopin and George Sand, a double portrait of his friends, the composer Frédéric Chopin and writer George Sand; the painting was cut after his death, but the individual portraits survive. On occasion Delacroix painted pure landscapes (The Sea at Dieppe, 1852) and still lifes (Still Life with Lobsters, 1826–27), both of which feature the virtuoso execution of his figure-based works.Jobert, page 99. He is also well known for his Journal, in which he gave eloquent expression to his thoughts on art and contemporary life.Eugène Delacroix, Journal, nouvelle édition intégrale établie par Michèle Hannoosh, 2 vols., Paris, José Corti, 2009. . A generation of impressionists was inspired by Delacroix's work. Renoir and Manet made copies of his paintings, and Degas purchased the portrait of Baron Schwiter for his private collection. His painting at the church of St. Sulpice has been called the "finest mural painting of his time".Wellington, page xxiii. Contemporary Chinese artist Yue Minjun has created his own interpretation of Delacroix's painting Massacre of Chios, which retains the same name. Yue Minjun's painting was itself sold at Sotheby's for nearly $4.1 million in 2007. His pencil drawing Moorish Conversation on a Terrace was discovered as part of the Munich Art Hoard. See also * Jean Louis Marie Eugène Durieu, friend, colleague, and photographer *List of Orientalist artists *Orientalism * Musée national Eugène Delacroix, his last apartment in Paris ReferencesExternal links Bibliothèque numérique de l'INHA – Journal et Correspondance d'Eugène Delacroix * Eugène Delacroix's biography, context, style and technique * The National Gallery: Delacroix * Brief biography at the Getty Museum * Le musée national Eugène Delacroix * A free video documentary about Delacroix's Liberty Leading the People * Harriet Griffiths & Alister Mill, Delacroix's Salon exhibition record, 1827–1849, Database of Salon Artists, 1827–1850 * *Eugène Delacroix (1798–1863): Paintings, Drawings, and Prints from North American Collections, a full text exhibition catalog from The Metropolitan Museum of Art *Romanticism & The School of Nature : Nineteenth- century drawings and paintings from the Karen B. Cohen collection, a full text exhibition catalog from The Metropolitan Museum of Art (see index) *Jennifer A. Thompson, "Basket of Flowers and Fruit by Eugège Delacroix (cat. 974)" in The John G. Johnson Collection: A History and Selected Works, a Philadelphia Museum of Art free digital publication. Category:1798 births Category:1863 deaths Category:19th-century French painters Category:French male painters Category:Alumni of the École des Beaux-Arts Category:Artist authors Category:Burials at Père Lachaise Cemetery Category:French philhellenes Category:French romantic painters Category:Lycée Louis-le-Grand alumni Category:Lycée Pierre-Corneille alumni Category:Nude art Category:Members of the Académie des beaux-arts Category:Orientalist painters Category:People from Val-de-Marne "