A Studio Portrait Of A Gentleman, Circle Of Ferdinand Victor Eugène Delacroix (1798-1863)

Circle of Ferdinand Victor Eugène Delacroix (1798-1863)

Title: A studio bust-length portrait of an affluent Gentleman

Medium: Oil on canvas

Period circa 1800-1850

Provenance: From a private UK collection

Overall size with the frame is 67cm x 59cm x 4cm and the painting measured at 57cm x 47cm

A beautifully composed, early to mid 19th century French School oval oil-on-canvas portrait of an affluent gentleman in period attire in the circle and manner of Ferdinand Victor Eugène Delacroix (1798-1863)

Very well constructed, the painting on close examination is close to several portrait studies by the artist. It displays very similar compositional structures and tonality displayed by some of the painter’s well-known portraits such as his well-documented self portrait.

Delacroix often displayed this technique when painting his male portraits. It is somewhat of a contrast in style to the better-known romantic realism displayed in much of his most iconic depictions of larger romantic generic scenes. Nonetheless, close study of his portrait works will illustrate the observation made.

Ferdinand Victor Eugène Delacroix gained inspiration from the works of old masters including Peter Paul Rubens, Titian and Caravaggio. He also focused on movement and colour in his artworks, instead of merely putting emphasis on modelled form and clear outlines.

Often referred to as the father of modern art, Eugène Delacroix was and remained a master for the artists of the 20th century. Henri Matisse and Pablo Picasso, like Charles Camoin, Marc Chagall, and Jean Bazaine, all admired the works of the Romantic painter.

Condition report: The painting is in excellent cleaned and restored condition and is unlined with a few minor areas of retouching and no repairs to the verso. There is a slight pronounced protrusion at the circular sight of the stretcher bar which is consistent. Note the photographs have been taken in one instance to illustrate this in daylight, but they are hardly visible when the painting is hung.

The canvas is in good tension and the paint surface is stable with minimal visibility of any craquelure.

The original gilt frame has been refurbished and the verso of the stretcher bars have been treated with a proprietary woodworm treatment solution as a precaution as there a few traces of old inactive woodworm.

Overall in very good condition considering the painting's antiquity.

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