The Sultan of Morocco

Lee Johnson discusses the increased realism and accurate natural lighting effects that appear in Delacroix's North African paintings.^{[6]: 114–116} This sentiment was earlier expressed by the 19th century art critic Théophile Thoré, who stated that Delacroix's figures did not seem embellished nor dramatized, but rather remain "calm and noble, as tranquil Orientals should be," exemplifying "magnificence and grandeur in simplicity." Inspired by the intense Barbary sun, Delacroix used expressive brushwork to capture the vivid blue sky, rich earth tones, and distinctive parasol.^{[3][7]: 90, 92–93}

Delacroix originally sought documentary accuracy and detail in this work, but he produced later versions of the same scene in 1856 and 1862 that reduced this detail in order to pursue "the poetic side" of his subject.^{[6]: 116–118} Despite his initial desire for accuracy, Delacroix took much artistic license in the overall organization and individual elements of his subject.^[4] According to Ferrer, Delacroix was disappointed by the blandness of the gate and the paleness of the Sultan's appearance, which was not exotic enough for him, leading him to "correct" these issues in his final painting.^{[5]: 189–190}

Another key trait of Delacroix's Moroccan paintings was the mixing of classical tradition with Orientalism and a Romantic sensibility, and this integration of multiple artistic traditions is exemplified in The Sultan of Morocco. The exotic subject and vibrant blend of strong colors are consistent with Romanticism, while the clarity of design and bold figures are more in keeping with Classical and Renaissance influences.^{[6]: 117–118} In particular, the composition of the painting with the grand architecture of the main gate across the background aligns with the monumental tradition of the Italian Renaissance.^[8]: 148

In 1844, the French military successfully attacked Morocco to disrupt their support of the Algerian resistance against France.^[7]: 83 Scholars have debated how Delacroix's painting relates to this political context. On one hand, Johnson indicates that Delacroix painted this scene of de Mornay's reception by the Sultan without de Mornay himself as a tribute to the Sultan.^[6]: 118 Nochlin and Trapp contested this claim by stating that the painting shows the Sultan as "'aloof and uninviting,'" with "'implacable hostility,'" and that the work as a whole was a triumphalist piece with imperialist undertones.^[7]: 83

Olmstead states that Delacroix presents the Sultan as an autonomous and powerful ally of France. His power is displayed through the massive canvas, grandiose scale and setting, and his position towering over his attendants on horseback in a reference to similar imagery of Louis-Philippe. The autonomy of the Sultan can be seen in the distinctive Moroccan details, such as the prayer beads, brilliant blue sky, and djellabas worn by the figures, as well as the elimination of the French delegation from the painting. Olmstead therefore claims that The Sultan of Morocco challenges the status quo and stands against the various French imperialist political positions of the day.^{[7]: 84–92}