London, 14 December 2016, 5:30 pm
Admission free; please register for this event on our Eventbrite page here.
Delaroche has clearly considered well-known works such as his Moïse sauvé des eaux (Louvre), and the reproductive prints derived from them. He has also taken into account the Apocryphal sources for the flight of the Holy Family into Egypt, and the traditional pairing of this subject with the ‘Finding of Moses’. Yet Delaroche’s interest in defining an archaeologically exact context for his Egyptian subject may also reflect the contemporary French interest in Egyptian monuments, and in particular the journey of his father-in-law, Horace Vernet, to Egypt in 1839. In the final painting of 1853 (known through the engraving by Louis Henriuquel-Dupont), such contextual details are finally eliminated in favour of a focus on local vegetation, and a direct psychological appeal to the spectator.