Marguerite's Shadow Appears to Faust - Eugène Delacroix
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Description
A dramatic 1828 lithograph by Eugène Delacroix, depicting a haunting scene from Goethe's Faust.
This lithograph is part of a series created by Eugène Delacroix for the French translation of Johann Wolfgang von Goethe's Faust. Published in 1828, the collection represents a significant moment in the history of book illustration, as it brought the dramatic intensity of Romanticism to the medium of printmaking. Delacroix was deeply affected by the play, and his interpretations move beyond simple narrative depiction to capture the psychological tension of the source material.
The composition depicts the Walpurgis Night scene. Faust, accompanied by Mephistopheles, encounters the spectral vision of Marguerite. Delacroix employs a high-contrast approach, using the inherent qualities of lithography to create deep, velvety blacks and luminous highlights. The figures are arranged in a theatrical manner, with the ghostly, ethereal form of Marguerite contrasting against the rugged, dark terrain. The inclusion of grotesque, monstrous figures in the foreground adds a sense of unease and supernatural dread, characteristic of the artist's approach to the macabre.
Delacroix's line work is fluid and expressive, allowing for a sense of movement within the static image. The interplay of light and shadow serves to guide the viewer's eye across the scene, from the central interaction between the protagonist and the apparition to the surrounding chaos of the demonic landscape. This print demonstrates the artist's ability to translate complex literary themes into visual form, maintaining a balance between the narrative requirements of the book and his own artistic vision. The work remains a primary example of how 19th-century artists engaged with classic literature, using print media to explore themes of morality, loss, and the supernatural.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
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Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
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Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Marguerite's Shadow Appears to Faust - Eugène Delacroix
Artist Biography
Eugene Delacroix
He was born in Charenton-Saint-Maurice, near Paris. His legal father was a diplomat. His biological father may have been Talleyrand, the foreign minister, which would explain several things about his career including his early access to government commissions. He studied at the Ecole des Beaux-Arts under Pierre-Narcisse Guerin and was influenced by Gericault's The Raft of the Medusa, which showed him that contemporary events could be painted at the scale previously reserved for mythology.
His brushwork was loose and fast by the standards of the Academy. He preferred colour to line, which put him in direct opposition to Ingres, the master of precise contour. The rivalry between Delacroix and Ingres, colour versus drawing, became the central argument of French painting in the mid-nineteenth century. Delacroix won in the long run: the Impressionists claimed him, the Fauves revered him, and Cezanne called him the starting point of modern painting.
He travelled to Morocco in 1832 and came back with notebooks full of colour studies that influenced the rest of his career. The North African light loosened his palette permanently. He died in 1863, at sixty-five, and left a journal that is one of the most intelligent accounts of painting ever written.
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