Critique d'art et transposition d'art : autour de Galatée et d'Hélène de Gustave Moreau (Salon de 1880)

Romantisme ◽  
2002 ◽  
Vol 32 (118) ◽  
pp. 37-53 ◽  
Author(s):  
Peter Cooke
Keyword(s):  
Gustave Moreau

scholarly journals As "formas simbólicas" na pintura tardia de Gustave Moreau

2020 ◽  
Vol 6 (1) ◽  
pp. 145-160
Author(s):  
Mariana Garcia Vasconcellos
Keyword(s):  
Ernst Cassirer ◽  
Erwin Panofsky ◽  
Gustave Moreau

Este artigo busca analisar o papel exercido pelos elementos pictóricos de desenho e colorido dentro da pintura tardia do artista oitocentista francês Gustave Moreau, utilizando como ferramenta teórica o conceito de “forma simbólica” de acordo com as concepções de Ernst Cassirer e Erwin Panofsky. Argumenta-se que a noção de “forma simbólica” oferece a possibilidade de integrar os aspectos visuais e simbólico-filosóficos peculiares a esse período da pintura de Moreau, quais sejam: a dissociação da linha e da mancha e a construção de uma mitopoese que explora dualismos como o de espírito e matéria.

scholarly journals Symbolism and imagination of the medieval period: The lady and the unicorn in the works of Gustave Moreau

Kultura ◽  
2020 ◽  
pp. 51-68
Author(s):  
Jovana Nikolić
Keyword(s):  
19Th Century ◽  
Fairy Tale ◽  
Middle Age ◽  
Forest Landscape ◽  
Medieval Period ◽  
Art Forms ◽  
Relationship Of ◽  
The 19Th Century ◽  
Gustave Moreau ◽  
Intellectual Climate

The French Symbolist painter Gustave Moreau often used the motifs of fantastic beings and animals in his works, amongst which the unicorn found its place. Moreau got the inspiration for the unicorn motif after a visit to the Cluny Museum in Paris, in which six medieval tapestries with the name "The Lady and the Unicorn" were exhibited. Relying on the French Middle Age heritage, Moreau has interpreted the medieval legend of the hunt for this fantastic beast (with the aid of a virgin) in a new way, close to the art of Symbolism and the ideas of the cultural and intellectual climate of Paris at the end of the 19th century. In the Moreau's paintings "The Unicorn" and "The Unicorns", beautiful young nude girls are portrayed in the company of one or multiple unicorns. Similarly to the lady on the medieval tapestry, they too gently caress the animal, showing a close and sensual relationship between them. Although they were rid of their clothes, the artist donned lavish capes, crowns and jewellery on them, alluding to their privileged social status. Their beauty, nudity and closeness with the unicorns ties them to the theme of the femme fatal, which was often depicted in the Symbolist art forms. Showing the fairer sex as beings closer to the material, instinctual and irrational, Moreau has equated women and animals, as is the case with these paintings. Another important theme of the Symbolic art forms which can be seen on the aforementioned paintings is nature, wild and untouched. The landscape in the paintings shows a harmony between the unrestrained nature and the heroes of the painting, freed from strict moral laws of the civil society, or civilization in general. Putting the ladies and the unicorns in an ideal forest landscape, Moreau paints an intimate vision of an imaginary golden age, in this case the Middle Age, through a harmonic relationship of unicorns, women and nature. In that manner, Moreau's unicorns tell a fairy tale of a modern European man at the end of the 19th century: a fairy tale of harmony, sensuality and beauty, hidden in the realms of imagination and dreams.

scholarly journals Modernidade e desmaterialização na obra tardia de Gustave Moreau

2021 ◽  
Vol 19 (41) ◽  
pp. 306-336
Author(s):  
Mariana Garcia Vasconcellos
Keyword(s):  
Gustave Moreau

Em sua fase final, a obra de Gustave Moreau passa por um processo de desmaterialização que é comum a outros artistas de sua geração. Por meio da análise da pintura e das anotações pessoais de Moreau, este artigo busca compreender as estratégias artísticas e as implicações teóricas envolvidas nesse movimento de idealização do conceito de “obra de arte”. São discutidos o uso simbolicamente carregado do inacabamento da pintura e a descentralização da “obra”, desdobrada em múltiplos estudos e trabalhos menores. Partindo do caso específico do artista, busca-se também contribuir para uma perspectiva geral sobre questões-chave da pintura moderna.

The Atelier Gustave Moreau

Art Journal ◽  
1962 ◽  
Vol 22 (2) ◽  
pp. 92
Author(s):  
Frank Anderson Trapp
Keyword(s):  
Gustave Moreau

La Colina de los cipreses

2015 ◽  
pp. 213-247
Author(s):  
Lily Litvak
Keyword(s):  
Emile Zola ◽  
Ruben Dario ◽  
Siglo Xix ◽  
Gustave Moreau

Durante el fin del siglo XIX se otorgó gran importancia al conocimiento del arte. Los escritores del cambio del siglo XIX al XX exhibían su cultura a través de sus obras literarias, comolo hace por ejemplo Rubén Darío en las “transposiciones pictóricas” que incluyó en la sección titulada “En Chile” de Azul. También ilustran ese interés las numerosas novelas donde el protagonista es un artista; Émile Zola personificó a Cézanne como Claude Lantier en l’Oeuvre, Sorolla se perfila en el Renovales de La maja desnuda de Blasco Ibáñez, Gustave Moreau había encarnado en numerosos personajes en Jean Santeuil de Proust, quien a través de Elstir, en A la recherché du temps perdu, ofrece sus juicios sobre Vermeer, Botticelli, La Gandara, Whistler, Watteau, Chardin, etc.

Museum Bodies: the Performance of the Musee Gustave Moreau

1996 ◽  
Vol 20 (2) ◽  
pp. 15-24
Author(s):  
Elizabeth Gray Buck
Keyword(s):  
Gustave Moreau

scholarly journals La résurrection du passé ou le Second Faust revisité

2012 ◽  
Vol 42 (3) ◽  
pp. 15-31
Author(s):  
Marie-Hélène Girard
Keyword(s):  
Second Empire ◽  
Gustave Moreau

Dans le prolongement de l’étude que Georges Poulet a consacrée à l’influence du Second Faust sur le fantastique de Gautier, l’article montre l’empreinte durable et profonde que ce texte a laissée également dans l’oeuvre du critique d’art. Les échos du texte traduit et commenté par Nerval se retrouvent aussi bien dans la « rétrospection évocatrice », qui rend compte des tableaux d’Ingres, de Meissonier, de Gustave Moreau ou des peintres de genre historique, que dans la réorientation esthétique d’un certain nombre de notions héritées du romantisme, comme celle de couleur locale, d’intuition ou d’ascèse de l’artiste. Les leçons du classicisme weimarien convergent non seulement avec l’image que Gautier a imposée de la perfection ingriste, mais aussi avec son plaidoyer en faveur de la sculpture, avec sa défense de la « forme abstraite » et la prédilection de plus en plus exclusive que ses Salons accordèrent au modèle antique sous le Second Empire. Ces multiples convergences confirment l’ambition prêtée à Gautier par Bergerat, d’être le « Goethe français », en même temps qu’elles éclairent l’originalité et la cohérence d’une critique et d’une esthétique trop souvent jugée opportunistes ou rétrogrades.

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