pupil,
Delacroix (1799-1863). It was in 1822 that Delacroix's first Salon
picture (the Dante and Virgil) appeared. A strange, ghost-like scene
from Dante's _Inferno_, the black atmosphere of the nether world,
weird faces, weird colors, weird flames, and a modelling of the
figures by patches of color almost savage as compared to the tinted
drawing of classicism. Delacroix's youth saved the picture from
condemnation, but it was different with his Massacre of Scio two
years later. This was decried by the classicists, and even Gros called
it "the massacre of art." The painter was accused of establishing the
worship of the ugly, he was no draughtsman, had no selection, no
severity, nothing but brutality. But Delacroix was as obstinate as
Ingres, and declared that the whole world could not prevent him from
seeing and painting things in his own way. It was thus the quarrel
started, the young men siding with Delacroix, the older men following
David and Ingres.

In himself Delacroix embodied all that was best and strongest in the
romantic movement. His painting was intended to convey a romantic mood
of mind by combinations of color, light, air, and the like. In subject
it was tragic and passionate, like the poetry of Hugo, Byron, and
Scott. The figures were usually given with anguish-wrung brows, wild
eyes, dishevelled hair, and impetuous, contorted action. The painter
never cared for technical details, seeking always to gain the effect
of the whole rather than the exactness of the part. He purposely
slurred drawing at times, and was opposed to formal composition. In
color he was superior, though somewhat violent at times, and in
brush-work he was often labored and patchy. His strength lay in
imagination displayed in color and in action.

The quarrel between classicism and romanticism lasted some years, with
neither side victorious. Delacroix won recognition for his view of
art, but did not crush the belief in form which was to come to the
surface again. He fought almost alone. Many painters rallied around
him, but they added little strength to the new movement. Deveria
(1805-1865) and Champmartin (1797-1883) were highly thought of at
first, but they rapidly degenerated. Sigalon (1788-1837), Cogniet
(1794-1880), Robert-Fleury (1797-), and Boulanger (1806-1867), were
romanticists, but achieved more as teachers than as painters.
Delaroche (1797-1856) was an eclectic--in fact, founded a school of
that name--thinking to take what