Delacroix's "Entry of the Crusaders into Constantinople" Restored to Original Brilliance After Conservation Treatment

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24d ago· 7 min readenNews

Summary

Eugène Delacroix's masterpiece "Entry of the Crusaders into Constantinople" (1840) has undergone meticulous conservation treatment, restoring its original brilliant colors that had been darkened by yellowed varnish. Commissioned in 1838 by King Louis-Philippe I for the historical galleries of the Château de Versailles, the painting depicts the 1204 Crusader conquest of Constantinople. The restoration work has allowed the complex historical and artistic significance of this major Romantic-era work to shine through once more, and it is now returning to display in the Red Rooms alongside other famous works by Delacroix.

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Hacker NewsDelacroix's "Entry of the Crusaders into Constantinople" Restored to Original Brilliance After Conservation Treatmentlouvre.fr

Key quotes

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Following a meticulous course of conservation treatment, Eugène Delacroix's Entry of the Crusaders into Constantinople is returning to the Red Rooms, joining a number of other famous works by the artist.

By restoring the piece's colours to their original brilliance, once darkened by yellowed varnish, the conservators' work has allowed its complex significance to shine through once more.

Commissioned in 1838 by King Louis-Philippe I, the Entry of the Crusaders into Constantinople (12 April 1204) was one of many artworks intended to decorate the historical galleries of the Château de Versailles.

The painting was completed in 1840 and displayed at the 1841 Paris Salon, then found a more permanent home in the neo-Gothic Crusades Rooms in Versailles.

Counted as one of Delacroix's masterpieces, it returned to Paris on several occasions, including the 1855 and 1864 retrospective exhibitions.

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Following a meticulous course of conservation treatment, Eugène Delacroix’s Entry of the Crusaders into Constantinople is returning to the Red Rooms, joining a number of other famous works by the artist. By restoring the piece’s colours to their orig

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