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Jean-Baptiste-Camille Corot - Marietta, or Roman Odalisque
Jean-Baptiste Carpeaux - Mademoiselle Fiocre
Louis-Ferdinand  Lachassaigne - Vase - Van Dyck painting his first canvas
Charles Durand dit Carolus-Duran - Mademoiselle de Lancey
Jean-Auguste-Dominique Ingres - Francis I Receives the Last Breaths of Leonardo da Vinci
Eugène Delacroix - Combat of the Giaour and the Pasha
Jacob Mardochée known as Jacob Petit - Mameluke clock
Jean-Baptiste Carpeaux - Buste de Samuel Welles de La Valette
Gustave Courbet - Courbet au chien noir
Édouard Manet - Portrait of Théodore Duret
Louis Léopold Boilly - Portrait of Mademoiselle Athénaïs d’Albenas
Paul Gauguin - Old Man with a Stick
Jean-Baptiste Carpeaux - Ugolino
Jan  Van Beers   - Les funérailles de Charles le Bon, Comte de Flandre, célébrées à Bruges dans l’église Saint-Christophe le 22 avril 1127
Gustave Courbet - La sieste pendant la saison des foins (montagne du Doubs)
Alfred de Dreux - Portrait of Mr and Mrs Mosselman and their two daughters
Jean-Désiré Ringel d'Illzach - Portrait of Jeanne et Mrs Albert Dammouse
Octave  Penguilly L’Haridon  - Côtes de Belleville
Gustave Doré - The Vale of Tears
Gustave Doré - L’Ascension
Camille  Pissarro - Le Pont Royal et le Pavillon de Flore
Paul Delaroche - Portrait d'Horace Delaroche
Théobald Chartran - Priam asking Achilles for the return of Hector's body
 Escalier de cristal - Ecran de cheminée

Combat of the Giaour and the Pasha

Charenton Saint-Maurice, 1798 – Paris, 1863
Oil on canvas
73 x 61 cm

The Combat of the Giaour and the Pasha, painted by Delacroix in 1835, is inspired by passage from Byron’s Oriental tales published in 1814 under the title The Giaour, a Fragment of a Turkish Tale.
The story is about the ill-fated love affair between a Venetian, the Giaour - a term used by Muslims to refer to an adulterer - and a slave, Leila, who belonged to the seraglio of Hassan, the military leader of a Turkish province. Leila, who has failed to show the Pasha Hassan the loyalty she owes him, is thrown into the sea. Her lover, the Giaour, avenges her by killing Hassan.

Through his independent and intrepid life as well as his literary works that speak to the heart and the imagination, Byron embodied the Romantic hero par excellence. His travels in the Islamicised countries of the Mediterranean opened the doors of the Orient to Delacroix. The poet died in 1824, aged 36, near Missolonghi, where he was fighting against Turkish domination on the side of the Greeks.

Hassan’s death deliberately echoes the Greek struggle for independence, supported by France, England and Russia from 1820 to 1830. Whereas Byron’s poem describes two troops filled with the same fury, Delacroix chose to isolate the two rivals to represent them in a duel which is faithful to the story in its violence.  Delacroix also drew on his memories of travelling in Morocco. The details of the costumes and harnesses he kept in his sketchbooks were used in the combat scene to emphasise the richness of his red and gold palette. Delacroix excelled at depicting a hand-to-hand fight of great visual intensity, where man and animal are closely linked.

Marks Inscriptions Hall-marks: 
Signed and dated bottom right: Eug. Delacroix, 1835
Inventory number: 
Inventory number : PDUT01162
Acquisition details : Purchase, 1963
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