Overwonnen theatraliteit : Delécluze over David

The writings of the French art critc Étienne-Jean Delécluze illustrate a more general transition from a mimetic to an idealistic theory of expression, which started in French art theory and art criticism during the years 1820-1840. This article traces the development of his thinking from the Salon of 1824 and his discussion with Stendhal on Shakespearian and Homeric art to the end of his career. It is shown that the concept of theatricality occupied a central place in Delécluze’s critiques and that the meaning of this concept followed his changing ideas on expression and history painting.