Around 1849–50, Delacroix became captivated by the challenge of capturing the light effects of cloud formations and chose pastel to convey his impressions. While he used the medium throughout his career, the sky studies constitute his largest cohesive group in pastel. Delacroix’s sensitive analysis of color is evident both in the drawing and in a corresponding description of a sunset in his journal: "The gray of the clouds in the evenings verges on blue; the clear parts of the sky are bright yellow or orange. . . . The greater the contrast, the more brilliant the effect." He noted making such a drawing "with an eye to my ceiling," likely referring to his recent commission for the Apollo Gallery in the Louvre, which ultimately featured radiating sunbeams surrounding the central figure.
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Musées Nationaux , Palais du Louvre Exposition Eugene Delacroix. Paris, France, 1930, cat. no. 706, p. 309.
"Review - London 19th and 20th Century Exhibitions" Burlington Magazine. London, 1988, mentioned p. 548., p. 548.
Hazlitt, Gooden & Fox Nineteenth Century French Drawings. Sale catalogue. London, 1988, cat. no. 6, p. 14.
Jacob Bean, Lee Johnson, William M. Griswold Eugène Delacroix (1798-1863): Paintings, Drawings, and Prints from North American Collections. Ex. cat. The Metropolitan Museum of Art, New York, 1991, cat. no. 16, p. 81, ill.
Arlette Sérullaz Delacroix: The Late Work. Exh. cat., Galeries nationales du Grand Palais, Paris, Apr. 7-July 20, 1998 and Philadelphia Museum of Art, Sept. 15, 1998-Jan. 3, 1999. Paris, Philadelphia, 1998, cat. no. 62.
Colta Ives, Elizabeth E. Barker Romanticism and the School of Nature : Nineteenth-Century Drawings and Paintings from the Karen B. Cohen Collection. Exh. cat.: October 17 - January 21, 2001. The Metropolitan Museum of Art, Yale University Press, New York, 2000, cat. no. 45, pp. 94-95, ill.
Ashley Dunn, Colta Ives, Marjorie Shelley Delacroix Drawings: The Karen B. Cohen Collection. New York, 2018, cat. no. 101, pp. 123, 165, ill.
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