Eugène Delacroix Tapybos Vizija Ir Kai Kurios Atsigręžimo Į Romantizmą Prielaidos
Eugène Delacroix’s Vision of Painting and Some Premises of Turning towards Romanticism

Summary/Abstract: The article aims to develop a specific concept of painting by using the differences between romantic and postmodern attitudes of the traditional categories of form and content. The dissociation of content is typical in contemporary theories of painting (especially in postmodern ones).Usually it predetermines painting to be simply a self-referential structure. The ideas of E. Delacroix are invoked here as a paradoxical case. On the one hand, the plastic formal properties of painting are emphasized; on the other hand, the power of imagination and the related idea of the transformation of plastic form are enthroned. So, the category of content does not disappear from Delacroix’s considerations of painterly plastic form. This fact forces one to review the stereotypical concept of romanticism that often is limited by a narrow approach of literariness and symbolism, and to substantiate the essential link of the romantic content (imagination, memory, subjective sensations) with the formal searches in painting.

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