158 - Eugène DELACROIX (Charenton-Saint-Maurice 1798 – Paris 1863)

Eugène DELACROIX (Charenton-Saint-Maurice 1798 – Paris 1863) Study for a Jewish Woman Watercolor over black pencil lines 29.6 x 19.3 cm Annotated on the right margin: “chaine” Slightly sun-faded, small spots Provenance: Studio sale stamp in the lower right (L.838a), Paris, Hôtel Drouot, February 22 through 27, 1864 According to Robaut, Paul Blacque auction, March 8, 1866 According to Robaut, Diaz auction, Paris, Hôtel Drouot, January 22–27, 1877, no. 353 Bibliography: A. Robaut, *The Complete Works of Eugène Delacroix*, Charavay Frères, publishers, Paris, 1885, no. 438, p. 117, ill. Eugène Delacroix left for Morocco in 1832 as part of the diplomatic mission led by the Count of Mornay, who sought to establish friendly ties between France and Morocco. Delacroix, who had been fascinated by the East for several years—particularly since the Greek uprising—seized the opportunity and set sail on a seven-month journey. During his stay, he befriended the Sultan’s drogman, Abraham Benchimol. Benchimol introduced him to the Jewish families of Tangier, and on February 21, 1832, he attended a Jewish wedding. During the celebration, Delacroix produced numerous sketches and watercolors, and in his Journal, dated February 21, 1832, he described in great detail the impressions and colors of this Jewish wedding, as if he did not want to forget a single thing: “The newlyweds as they arrived in their haijcks. The beautiful eyes. The arrival of the parents. Wax torches; the two candelabras painted in different colors. Commotion. Illuminated faces. Confused Moors…” (see E. Delacroix, Journal de Eugène Delacroix 1823–1850, Vol. I, 1824, p. 157). All these details gathered during the celebration would enable him, once back in France, to paint *The Jewish Wedding*, exhibited at the 1841 Salon. This is how he described his painting for the 1841 Salon catalog: “The Moors and the Jews are mingled together. The bride is shut away in the inner chambers, while the rest of the house is in celebration. Distinguished Moors give money to the musicians, who play their instruments and sing without ceasing, day and night; the women are the only ones who take part in the dance, which they do in turn to the applause of the assembly.” Stylistically, our drawing can be compared to another preparatory watercolor of a Jewish woman for *The Jewish Wedding*, now in the collection of the Musée Fabre in Montpellier (inv. 15.1.18) Our study must have been drawn during the trip—perhaps at that famous Jewish wedding on February 21, 1832—and was likely part of lots 550 through 563 in Delacroix’s posthumous sale, all of which depicted Jewish women’s costumes.