The emotions emphasised in Delaroche's paintings appeal to Romanticism while the detail of his work along with the deglorified portrayal of historic figures follow the trends of Academicism and Neoclassicism.

Delaroche was a leading pupil of Antoine-Jean Gros and later mentored a number of notable artists such as Thomas Couture, Jean-Léon Gérôme, and Jean-François Millet.

Davidian Classicism was widely accepted and enjoyed by society so as a developing artist at the time of the introduction of Romanticism in Paris, Delaroche found his place between the two movements.

His change of subject and "the painting's austere manner" were ill-received by critics and after 1837, he stopped exhibiting his work altogether.

This texture was the manner of the day[3] and was also found in the works of Vernet, Ary Scheffer, Louis Léopold Robert and Jean Auguste Dominique Ingres.

[4] This exhibition led to his acquaintance with Théodore Géricault and Eugène Delacroix, with whom he formed the core of a large group of Parisian historical painters.

At age nineteen, Delaroche was afforded by his father the opportunity to study at L'École des Beaux-Arts under the instruction of Louis Étienne Watelet.

The schooling Delaroche received at L'Ecole des Beaux-Arts tied him to the ideas of Academicism and Neo-Classicism while his time spent in the studio of Gros aroused his interest in history and its representation through Romanticism.

B.-A., Nîmes), The Princes in the Tower (1831, Louvre, Paris) and his most acclaimed piece, the Execution of Lady Jane Grey (1833, NG, London).

The same year, he was commissioned to paint a large mural at the central nave of L'Église de la Madeleine in Paris.

German literary critic, Heinrich Heine, says "[Delaroche] has no great predilection for the past in itself, but for its representation, for the illustration of spirit, and for writing history in colours."

He carefully researched the costumes and accessories and settings he included in his paintings in order to accurately present his subject.

The varying movement of his brush strokes along with the colors and placement of his subjects give each of them a unique appearance and allows them to act in the spirit and tone of their character and the event.

Another famous work shows Cardinal Richelieu in a gorgeous barge, preceding the boat carrying Cinq-Mars and De Thou to their execution.

The disappointing public reception of his painting, St. Cecilia, along with his overall rejection of Davidian values in French society and government led him to his "self-imposed exile from the government-sponsored Salons."

Delaroche then commenced the creation of his most famous work, The Hemicycle, painted on a semicircular saloon at L'Ecole des Beaux-Arts.

The painting represents seventy-five great artists of all ages, in conversation, assembled in groups on either hand of a central elevation of white marble steps, on the topmost of which are three thrones filled by the creators of the Parthenon:[6] sculptor Phidias, architect Ictinus, and painter Apelles, symbolizing the unity of these arts.

After reviewing the show's findings, Professor Stephen Bann, a leading Delaroche expert, concluded that the version, bought for £500 in 1989 by the late art collector and dealer Neil Wilson, and housed at Castle of Park in Cornhill, Aberdeenshire, was in fact the lost original.

[7] Wilson's widow, Becky, was reported to have decided to keep the painting, but allow it to go on display at the British Museum in London when a Delaroche exhibition takes place.