O'Brien reviews Eugene Delacroix Journal by hannoosh/O'Brien Nineteenth...O'Brien reviews Eugene Delacroix…

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<p>2/24/13 9:23 PMO'Brien reviews Eugene Delacroix Journal by Hannoosh</p> <p>Page 1 of 6http://www.19thc-artworldwide.org/index.php/autumn12/obrien-reviews-eugene-delacroix-journal-by-hannoosh</p> <p>Volume 11, Issue 3 Autumn 2012</p> <p>CALL FOR PROPOSALS:NCAWNCAW digital research andpublication initiative</p> <p>about the journalpast issueshelphow to support the journal</p> <p>search...</p> <p>Articles</p> <p>Local/Global: Mapping Nineteenth-Century London's Art Marketby Pamela Fletcher and Anne Helmreich</p> <p>The Old Feelings of Men in a NewGarment: John Everett Millaiss AHuguenot and the Masculine Audiencesin the Mid-nineteenth Centuryby Jo Briggs</p> <p>Crossings and Dislocations: Toshio Aoki(18541912), A Japanese Artist inCaliforniaby Chelsea Foxwell</p> <p>Representing Evolution: Jens FerdinandWillumsens Fertility and the NaturalSciencesby Gry Hedin</p> <p>The Radical Style and Local Context ofCzannes Mary Magdalen (Sorrow)by Nancy Locke</p> <p>Misty Mediations: Spectral Imaginingsand the Himalayan Picturesqueby Romita Ray</p> <p>Between Panoramic and Sequential:Nadar and the Serial Imageby Philippe Willems</p> <p>New Discoveries: An Unknown Flemish</p> <p>Interior in the Fourteenth Century byLawrence Alma-Tademaby Jan Dirk Baetens</p> <p>Reviews</p> <p>Klimt Year in Vienna: Part OneReviewed by Jane Van Nimmen</p> <p>BOOK REVIEWSEmpress Eugnie and the Arts: Politicsand Visual Culture in the NineteenthCentury by Alison McQueenReviewed by Camelia Errouane</p> <p>Eugne Delacroix, Journal edited byMichle HannooshReviewed by David O'Brien</p> <p>Remaking Race and History: TheSculpture of Meta Warrick Fuller byRene AterReviewed by Caterina Y. Pierre</p> <p>The Brush and the Pen: Odilon Redonand Literature by Dario Gamboni,translated by Mary WhittallReviewed by Sarah Sik</p> <p>In Search of Julien Hudson: Free Artistof Color in Pre-Civil War New Orleansedited by William Keyse Rudolph and</p> <p>| Print | E-mail</p> <p>Eugne Delacroix,Journal.Michle Hannoosh, ed.2 vols. Paris: Jos Corti, 2009.2519 pp.80 ! (paperback)ISBN 9782-7143-0999-0</p> <p>Eugne Delacroixs Journal is one of the most famousand influential texts ever written by an artist, and yet,its contents and form have never been entirely stable.It has appeared in many, very different versions. Thenew edition under consideration here, edited by Michle Hannoosh, completely revisesthose that have preceded it. It brings a new standard to documentary research onDelacroix and significantly changes our understanding of him. In the world of Delacroixstudies, Hannoosh now joins the likes of Alfred Robaut, Etienne Moreau-Nlaton, AndrJoubin, and Lee Johnson as someone who has played a fundamental role in identifying,preserving, and making public the artists work.</p> <p>The core of the Journal has always been five small notebooks covering the period from1822 to 1824 and fifteen diaries covering 1847 and the years from 1849 to 1863. Thediary for the eventful year of 1848 was tragically lost when Delacroix forgot it in ahackney. To these are often added the written contents of seven sketchbooks (two ofwhich are lost) from the North African voyage of 1832 and various parts of othernotebooks and loose sheets from a wide range of dates.</p> <p>Parts of the Journal appeared during the artists lifetime: in 1853 Thodore Silvestrepublished excerpts in LIllustration and three years later in his Histoire des artistesvivants.[1] Shortly after Delacroixs death in 1863, Silvestre included further passagesin his Eugne Delacroix, documents nouveaux, and Achille Piron published animportant group of writings, none of which came from the actual diaries themselves, inhis Eugne Delacroix, sa vie et ses oeuvres in 1868.[2] The first effort to publish acomplete journal was carried out by Paul Flat and Ren Piot and appeared in fourvolumes from 1893 to 1895.[3] Andr Joubin published a far longer and more accurateedition in 1932, and republished it with corrections and additions in 1950.[4]</p> <p>Joubins version appeared again in 1981, dubiously announced as an dition revue;in fact, this edition simply integrated Joubins errata and addenda and added a prefaceby Hubert Damisch, a few notes, and some bibliographical references.[5] Another,</p> <p>identical edition appeared in 1996.[6] Hannoosh is rightfully scornful of these latereditions: her own research demonstrates both how much in need of correction Joubinsversion was and the wealth of undiscovered writing by the artist that simply gathereddust during the second half of the twentieth century. Her detective work findingunpublished manuscripts, her deciphering and dating of them, and her scholarlydocumentation and discussion of their contents is simply breathtaking, as is herpainstaking reconstruction of disassembled notebooks, of the byzantine provenance ofthe manuscripts, and of how certain parts found their way into publication.</p> <p>Curiously, Delacroix left no instructions in his elaborately detailed will concerning hisjournal. When his principal heir, Achille Piron, asked Jenny Le Guillou, Delacroixsdevoted housekeeper, about Delacroixs diaries shortly after his death, she claimedthat Delacroix had burned them. In fact, she had hidden them and soon deliveredthem to Constant Dutilleux, a painter and close friend of Delacroix, with theexpectation that he would publish them. She may also have hoped that he wouldexpurgate them. Dutilleux later asserted that Delacroix had wanted Le Guillou todestroy the diaries, and that she had preserved them against his wishes. The story ispossibly true: Delacroix expressed some ambivalence about preserving his memoirs,he trusted Le Guillou deeply, and she clearly understood his importance as an artistand thinker.</p> <p>After this point, the history of the diaries and other manuscripts becomes verycomplicated. Piron had inherited Delacroixs personal papers, many of which containedmusings similar to those in the diaries, and he possessed the diary for 1863, whichapparently Le Guillou had not taken. He gave the 1863 diary to Le Guillou, who in turn</p> <p>http://www.19thc-artworldwide.org/images/stories/autumn_12/reviews/obri_cover.jpghttp://www.19thc-artworldwide.org/index.php/autumn12/http://www.19thc-artworldwide.org/index.php/call-for-proposalshttp://www.19thc-artworldwide.org/index.php/about-the-journalhttp://www.19thc-artworldwide.org/index.php/past-issueshttp://www.19thc-artworldwide.org/index.php/helphttp://www.19thc-artworldwide.org/index.php/how-to-support-the-journalhttp://www.19thc-artworldwide.org/index.php/autumn12/fletcher-helmreich-mapping-the-london-art-markethttp://www.19thc-artworldwide.org/index.php/autumn12/briggs-john-everett-millais-a-huguenothttp://www.19thc-artworldwide.org/index.php/autumn12/foxwell-toshio-aoki-a-japanese-artist-in-californiahttp://www.19thc-artworldwide.org/index.php/autumn12/hedin-jens-ferdinand-willumsen-fertilityhttp://www.19thc-artworldwide.org/index.php/autumn12/locke-cezanne-mary-magdalen-sorrowhttp://www.19thc-artworldwide.org/index.php/autumn12/ray-spectral-imaginings-and-the-himalayan-picturesquehttp://www.19thc-artworldwide.org/index.php/autumn12/willems-nadar-and-the-serial-imagehttp://www.19thc-artworldwide.org/index.php/autumn12/new-discoveries-flemish-interior-in-the-fourteenth-century-by-lawrence-alma-tademahttp://www.19thc-artworldwide.org/index.php/autumn12/van-nimmen-reviews-klimt-year-in-vienna-part-onehttp://www.19thc-artworldwide.org/index.php/autumn12/errouane-reviews-empress-eugenie-and-the-arts-by-mcqueenhttp://www.19thc-artworldwide.org/index.php/autumn12/obrien-reviews-eugene-delacroix-journal-by-hannooshhttp://www.19thc-artworldwide.org/index.php/autumn12/pierre-reviews-remaking-race-and-history-by-aterhttp://www.19thc-artworldwide.org/index.php/autumn12/sik-reviews-the-brush-and-the-pen-by-gambonihttp://www.19thc-artworldwide.org/index.php/autumn12/leininger-miller-reviews-in-search-of-julien-hudson-by-rudolph-and-bradyhttp://www.19thc-artworldwide.org/index.php/autumn12/obrien-reviews-eugene-delacroix-journal-by-hannoosh?tmpl=component&amp;print=1&amp;page=http://www.19thc-artworldwide.org/index.php/component/mailto/?tmpl=component&amp;link=d6809f59c6cd064f18e1cfd13b70183528e047d9http://www.19thc-artworldwide.org/index.php/autumn12/obrien-reviews-eugene-delacroix-journal-by-hannoosh#_ftn1http://www.19thc-artworldwide.org/index.php/autumn12/obrien-reviews-eugene-delacroix-journal-by-hannoosh#_ftn2http://www.19thc-artworldwide.org/index.php/autumn12/obrien-reviews-eugene-delacroix-journal-by-hannoosh#_ftn3http://www.19thc-artworldwide.org/index.php/autumn12/obrien-reviews-eugene-delacroix-journal-by-hannoosh#_ftn4http://www.19thc-artworldwide.org/index.php/autumn12/obrien-reviews-eugene-delacroix-journal-by-hannoosh#_ftn5http://www.19thc-artworldwide.org/index.php/autumn12/obrien-reviews-eugene-delacroix-journal-by-hannoosh#_ftn6</p> <p>2/24/13 9:23 PMO'Brien reviews Eugene Delacroix Journal by Hannoosh</p> <p>Page 2 of 6http://www.19thc-artworldwide.org/index.php/autumn12/obrien-reviews-eugene-delacroix-journal-by-hannoosh</p> <p>edited by William Keyse Rudolph andPatricia BradyReviewed by Theresa Leininger-Miller</p> <p>Robert Koehler's The Strike: TheImprobable Story of an Iconic 1886Painting of Labor Protest by James M.DennisReviewed by Gabriel P. 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Taube</p> <p>apparently Le Guillou had not taken. He gave the 1863 diary to Le Guillou, who in turngave it to Delacroixs student and assistant Pierre Andrieu. Lost today, it exists invarious copies, of which Hannoosh has published the variations. The rest of the papersin Pirons possession disappeared from view into a long line of heirs. Some surfaced onthe market in the 1950s, but many are only known today because of Hannooshsdetective work, about which more in a moment.</p> <p>Dutilleux asked his nephew and son-in-law, Alfred Robaut, to copy the diaries in hispossession. At Dutilleuxs death, Le Guillou reclaimed those that Robaut had alreadycopied, and Robaut held on to the rest. Le Guillou passed her lot on to relatives ofDelacroixs brother-in-law, Raymond de Verninac. All of the manuscripts, except thosethat had remained with the descendants of Piron, passed through the hands of anumber of people involved in Flat and Piots early effort to publish the Journal. Afterthe publication of this work, some manuscripts returned to the Verninac and Andrieufamilies, while others were lost. Some have since appeared on the market, and theBibliothque de lInstitut National dHistoire de lArt in Paris has acquired most of themanuscripts for the years 182224, 1847, 184950, and 185662. Part of Hannooshswork has been to reconstruct the still-missing documents from the various copies thatwere made of them over the years. A copy made by Robaut, now in the GettyResearch Institute, has been important for every edition of the Journal, but Hannooshsresearches have been so painstaking as to determine that there must have beenanother, earlier copy by Robaut, whose whereabouts remain unknown.</p> <p>Hannooshs most astonishing discovery was of the documents that had remained withPirons descendants. Pirons line of descent disappeared from view in the nineteenthcentury with a certain M. de Courval, whose heirs left almost no public trace. Indesperation, Hannoosh went through the phonebook of Courvals hometown anduncovered someone with a loosely linked name, who indeed was related to, and knewof, surviving family members. Letters to various relatives eventually turned up a cacheof documentsthe remains of the Piron inheritanceof whose importance the ownerswere unaware. Before they proceeded to sell the documents Hannoosh was able tocopy them.</p> <p>Another major breakthrough came when Hannoosh learned of a group of documents ina private collection originally assembled by Claude Roger-Marx from various dealersand ultimately traceable back to Pirons inheritance. Amazingly, their contents hadbeen described, and extracts published, in the Figaro littraire in 1963, but thispublication had gone totally unnoticed by previous scholars of Delacroix![7] From thesevarious collections Hannoosh uncovered, among other things, hundreds of lettersaddressed to Delacroix revealing much about his career, documents detailing theartists private and financial affairs, texts discussing his voyage to Morocco, andnumerous reflections on aesthetics, the arts, and important artistic and literary figures.</p> <p>With a few exceptions, this edition first presents the diaries and then, in an orderguided by both chronology and theme, the contents of various other notebooks andloose sheets. This is followed by the journals and notes of Delacroixs assistant PierreAndrieu, which offer important documentation of Delacroixs activities and statements.Then, in a long section entitled Variantes, Hannoosh painstakingly documents all themistakes, erasures, cross-outs, marginalia, differences between her edition and earlierones, and many more details that would have disrupted the flow of the journal hadthey been incorporated into the main text. She also includes short biographies of themany hundreds of figures mentioned in the journal, an appendix on Delacroixs loverEugnie Dalton, genealogies of Delacroixs family, a bibliography, and an index.</p> <p>It is impossible to overstate the value of this new edition for scholarship on Delacroix.It contains countless corrections to earlier editions as well as to their identifications ofpeople, places, paintings, texts, and other details. Earlier editions had omitted parts ofthe diaries, integrated bits of other manuscripts into the diaries proper, and oftenmisinterpreted the dates and order of journal entries. This was partly the result of thecomplexity of Delacroixs system of writing: he sometimes moved back and forthbetween entries, adding thoughts at later dates or referring to earlier arguments, andsometimes he jumped forward or backward in a notebook to continue an entry on anunused section of the notebook. He used a system of cross-references that Hannooshis the first to comprehend fully. Earlier editors often suppressed the chaotic quality ofthe journal, and they sometimes published nonsensical passages and non-sequitursbecause they could not follow the threa...</p>