id: 166624 accession number: 2008.346 share license status: CC0 url: https://clevelandart.org/art/2008.346 updated: 2024-03-26 02:01:12.033000 The Members of the Academy of Beaux-Arts Assembled to Jury the Rome Prize, 1841 or 1842. Paul Delaroche (French, 1797–1856). Pen and brown ink; sheet: 16.4 x 29.2 cm (6 7/16 x 11 1/2 in.); secondary support: 28.4 x 42.9 cm (11 3/16 x 16 7/8 in.). The Cleveland Museum of Art, Bequest of Muriel Butkin 2008.346 title: The Members of the Academy of Beaux-Arts Assembled to Jury the Rome Prize title in original language: series: series in original language: creation date: 1841 or 1842 creation date earliest: 1841 creation date latest: 1842 current location: creditline: Bequest of Muriel Butkin copyright: --- culture: France, 19th century technique: pen and brown ink department: Drawings collection: DR - French type: Drawing find spot: catalogue raisonne: --- CREATORS * Paul Delaroche (French, 1797–1856) - artist Son of the art dealer and collector Grégoire-Hippolyte (d. 1824), Paul Delaroche entered the École des Beaux-Arts in 1816 and studied under landscape painter Louis-Étienne Watelet (1780-1866), himself a student of Pierre-Henri de Valenciennes (1750-1819). After his failure in the Prix de Rome competitions for landscape, newly instituted in 1817, Delaroche switched in 1818 to the studio of history painter Gros (q.v.). Delaroche's first participation in the Salon in 1819 won him praise for his paintings of subjects from the Old and New Testaments. At this time the Bourbon monarchy, reinstalled since 1815, promoted religious painting as the most moral and principled subjects, in large part their reaction to the mythological painting produced during Napoleon's reign, which needed new kinds of art and iconography to express the authority of his upstart political regime. The more radical, independent painter Géricault (1791-1824) liked Delaroche's early work for its similarities to the dramatic color and lighting of Gros. By the late 1820s and early 1830s Delaroche changed course to depict English history subjects, which won him wide fame and considerable prices. The first of these paintings, The Death of Queen Elizabeth of England (Musée du Louvre, Paris), appeared in the Salon of 1827-28, but the painter's greatest success came in the 1831 Salon, where he exhibited Cromwell Gazing into the Coffin of Charles I (Musée des Beaux-Arts, Nîmes) and The Children of Edward IV (Musée du Louvre, Paris). The latter painting portrayed the incipient murder of the two royal heirs by usurpers, but it was so popular that the French king, Louis-Philippe, himself an Orléans replacement for the Bourbon monarchs, bought it for 6,000 francs. The painting also inspired playwright Casimir Delavigne's successful drama Les enfants d'Édouard (The Children of Edward), first performed in 1833 and dedicated to Delaroche. Because of the triumph of the 1831 Salon, Delaroche was elected to the Académie des Beaux-Arts in 1832. In 1833 he was named professor to the École des Beaux-Arts and received a commission for scenes from the life of Mary Magdalene for the church of the Madeleine in Paris. For this latter project he wished to emulate Renaissance frescoes and so went to Italy to study them. Upon his return, he learned that he would share the commission with another artist and withdrew from the project. After the negative criticism of his St. Cecilia at the 1837 Salon, Delaroche did not exhibit again in the Salons. But in that same year he was awarded his most important commission, the decoration of the hemicycle (auditorium) of the École des Beaux-Arts, which took him four years to complete. This work was considered a success by most conservative and moderate critics. With the 1840s portraiture became a substantial part of his production. At the end of his life, he had begun a four-picture series of scenes from the life of the Virgin and completed one (The Virgin Contemplating the Crown of Thorns, 1856). Delaroche's teaching atelier attracted a variety of young artists, such as Couture (q.v.), Gérôme (q.v.), and Millet (q.v.). Delaroche closed the studio in 1843 after the death of one of his students during a hazing prank. --- measurements: Sheet: 16.4 x 29.2 cm (6 7/16 x 11 1/2 in.); Secondary Support: 28.4 x 42.9 cm (11 3/16 x 16 7/8 in.) state of the work: edition of the work: support materials: description: cream modern laid paper, laid down on beige wove paper watermarks: inscriptions: inscription: lower center, in graphite: PaulDelaroche / 1843; secondary support, left center, in graphite: Ingres-=; lower center, in black ink: Les membres de l'academie des beaux arts assemblés / en jury des prix de Rome.; lower right, in black ink: Paul De la Roche. translation: remark: --- CURRENT EXHIBITIONS title: French Master Drawings from the Collection of Muriel Butkin opening date: 2001-08-26T00:00:00 French Master Drawings from the Collection of Muriel Butkin. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 26-October 28, 2001); Dahesh Museum of Art (February 19-May 18, 2002). --- LEGACY EXHIBITIONS --- PROVENANCE --- fun fact: digital description: wall description: --- RELATED WORKS --- CITATIONS Foster, Carter E., Sylvain Bellenger, and Patrick Shaw Cable. French Master Drawings from the Collection of Muriel Butkin. [Cleveland, Ohio]: Cleveland Museum of Art, 2001. page number: Referenced: cat. no. 32, p. 72-73, Reproduced: p. 73 url: Marchetti, Elena, and Stéphane Paccoud. Hippolyte, Paul, Auguste: lLs Flandrin, Artistes et Frères. [Lyon]: Musée des Beaux-Arts de Lyon; [Paris]: In Fine, 2021. page number: Mentioned: P. 57; Reproduced: P. 55, fig. 15 url: --- IMAGES web: https://openaccess-cdn.clevelandart.org/2008.346/2008.346_web.jpg print: https://openaccess-cdn.clevelandart.org/2008.346/2008.346_print.jpg full: https://openaccess-cdn.clevelandart.org/2008.346/2008.346_full.tif