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The Virgin Of The Sacred Heart Analysis

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It was only in 1927 that the Corsican painter Corbellini, curator of the Fesch Museum, discovered the painting in the Ajaccio Cathedral. Indeed, Corbellini had read in the Gazette des beaux-arts an article of André Joubin describing the composition. Thus, he came in the cathedral, did a sketch and sent it to Joubin who confirmed that it was the painting searched for more than half a century, as related by Corbellini himself: “M. André Joubin après examen du croquis de notre tableau en confirme l’interprétation .” Then, exhibited at the Louvre for the Romanticism centenary in 1930, the Virgin of the Sacred Heart - also called the Triumph of the Religion from that moment -, was transferred to the Fesch Museum in 1931, when has been found a solution to replace it in the cathedral .

After the World War II and the disappearance in Ajaccio of the archives indicating reasons about the transfer, the Virgin of the Sacred Heart, once again, was placed in the cathedral. Thus, no one knew the origin of the Immaculate Conception , a copy of the Murillo painting, commissioned in 1931to replace the rejected commission from Nantes. However, conditions of conservation in the cathedral were not better than before the war, and, …show more content…
At this time, Delacroix could know Velásquez by the Géricault’s copies, but waited 1824 to talk about Spanish impasto in his Journal. During this waiting, he looks to Veronese and Rubens in the Louvre: two separate styles visible in his first monumental painting, explaining the difference between the top and the bottom, an eclecticism not yet assimilated in Dante, which will resolve in the Chios by the Spanish experience. This one reached its peak with the Death of Sardanapalus. Then, in the Liberty, Delacroix has found the balance searched since the Virgin of the Sacred

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