禮拜天美術神遊：歐仁·德拉克洛瓦（Eugène Delacroix）在巴黎聖敘爾比斯教堂（Saint-Sulpice）的壁畫（1855-1861）
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這是克勞德·莫奈1889年的照片，幾年前他做出了一個徹底改變他一生的決定：搬到吉維尼這個小村莊。
1883年5月，莫內帶著他的兩個兒子米歇爾和讓，以及龐大的霍舍德家族，在吉維尼定居下來。當時的吉維尼非常小，只有279位居民，遠離主要的鐵路線。莫奈幾乎是偶然發現了這個地方，那是一次探索之旅，他乘坐從韋爾農出發的小火車，並在鄉村漫步。被迫離開普瓦西的家後，他渴望穩定、寬敞和陽光。
他很快就愛上了這裡的風景：盛開的果園、濕潤草地上盛開的黃色鳶尾花，以及覆蓋著葡萄藤和農作物的綿延山丘。 1883年4月，莫內注意到一座名為「Le Pressoir」的廢棄農場，它曾經用來釀造蘋果酒。粉紅色的牆壁和灰色的百葉窗在周圍的房屋中格外醒目，這種色彩選擇源於前房主的故鄉瓜德羅普島。莫內於1883年5月3日租下了這棟房子，並幾乎立即搬了進去。
這處房產包括一個大型封閉式花園，以及足夠的空間讓莫內在一間舊穀倉裡建造他的第一個工作室。儘管花園需要大量修繕，莫內卻立刻看到了它的潛力。 43歲的他終於找到了歸宿。他將在吉維尼生活43年，克服經濟困境，並在那裡達到藝術生涯的巔峰。
Ars Europa
Above a burning pyre, King Sardanapalus, draped in white, reclines on a sumptuous jewel-inlaid bed adorned with gilded elephant heads and covered with scarlet fabric, as his cruel sentence is carried out. This complex, superhuman figure, both judge and executioner, actor and spectator, lies semi-recumbent on the bed, one hand supporting his head. With his beard and turban, he resembles a Mughal or Qajar sultan, while his pose evokes a classical statue, a figure by Michelangelo, Delacroix’s Michelangelo in his Studio, Rembrandt’s Jeremiah Lamenting the Destruction of Jerusalem, or Heraclitus in Raphael’s School of Athens. The force of the composition matches the violence of the event; the subject matter, architectural setting, dramatic technique and tension, theatrical effects of light, and gestures of fear evoke the work of English painters such as Turner, William Etty, and John Martin. The painting is surprising too for the daring of its foreshortened perspective, for the effects of light, and for the cool, clear colors that propel the heart of the scene toward the viewer. The painting features a diagonal - emphasized by the flames of the pyre and the sensually writhing bodies - that crosses from bottom right to top left, its colors gradually changing from a deep red to a pearly pink against which the creamy flesh of the naked bodies and the raw white of the king's drapery are accentuated. As the city burns in the distance, the palace seems swept away on a raging wave that destroys all notion of hierarchy, gender, species, and rank. All logic is lost as masters, soldiers, slaves, men, women, animals, bodies, objects, attitudes, movements, materials, life, and death are tangled together in piteous disarray, brutally cast into the furnace because of the king's arrogant refusal to surrender. Eugène Delacroix, The Death of Sardanapalus, 1827, oil on canvas, Louvre Museum, Paris.
貼過一小孩仰視的黑白照
Ce lundi 26 novembre, les étudiants de L Ecole nationale supérieure d'architecture Paris-Malaquais
prolongent votre visite au musée Delacroix en vous emmenant découvrir les peintures de l'artiste dans l'église Saint-Sulpice. 
Profitez à 15h d'une visite proposée par les agents du musée et partez ensuite à 16h à la découverte de l'église Saint-Sulpice. 
© 2017 – Musée Delacroix / Musée du Louvre - Olivier Ouadah
禮拜天美術神遊 (2)：Claude Monet (1840–1926)的兩花園 Argenteuil (1871~78)、 Giverny (1883 起~1926)
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