Fine Art Poster
From $29
A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
Méphistophélés and Faust flee after the duel - Eugène Delacroix
Regular price
$29.00 USD
Sale price
$29.00 USD
Regular price
Archival giclée
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Made to order
Description
A dramatic lithograph by Eugène Delacroix from his 1828 series illustrating Goethe's Faust, capturing the tense escape of Faust and Méphistophélés.
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. Delacroix utilised the medium of lithography to capture the dark, atmospheric tension inherent in the narrative. The scene depicts the immediate aftermath of a duel, where the protagonist Faust and his demonic companion, Méphistophélés, retreat from the site of the conflict.
Delacroix employs dramatic chiaroscuro to define the figures against the gloom of the night. The composition focuses on the hurried movement of the pair, with Méphistophélés guiding Faust away from the fallen body visible in the background. The artist's handling of the lithographic crayon creates varied textures, from the smooth surfaces of the stone architecture to the rough, gestural marks that suggest the chaotic energy of the escape. The figures are rendered with a sense of urgency, their postures conveying the weight of their actions.
Goethe himself praised these illustrations, noting that Delacroix managed to capture the spirit of the text more effectively than any other artist. The work demonstrates the artist's ability to translate complex literary themes into visual form through expressive line work and tonal contrast. By focusing on the psychological state of the characters rather than mere narrative description, Delacroix elevates the print beyond a simple accompaniment to the text. This piece remains a primary example of Romantic printmaking, reflecting the period's fascination with the macabre, the supernatural, and the internal struggles of the individual. The print serves as a window into the collaborative relationship between literature and visual art during the nineteenth century, showcasing the technical capabilities of early lithographic processes.
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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.
Care and materials
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
- Handle prints with clean, dry hands
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
Complete The Look
Méphistophélés and Faust flee after the duel - Eugène Delacroix
Regular price
From $29.00 USD
Sale price
From $29.00 USD
Regular price
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Eugene Delacroix
Delacroix painted Liberty leading the people over a barricade of corpses and gave Romanticism its defining image. Liberty Leading the People (1830) shows a bare-breasted woman holding the tricolour, striding over the dead, accompanied by a boy with pistols. It commemorates the July Revolution. Delacroix included himself in the painting, wearing a top hat and carrying a rifle. Whether he actually fought on the barricades is unlikely but characteristic.
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.
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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Fine Art Framed
From $89
The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
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