Reading many European paintings depends on identifying classical deities shown. This new series helps you do that, and understand what’s going on.
myth
Concludes a history of the unicorn in paint, from travellers’ tales and Paulus Potter, through Gustave Moreau into the early 20th century.
In the Renaissance, the unicorn wasn’t legendary at all, but had appeared in classical accounts of natural history. It was as real as a rhinoceros.
He continued to paint religious works and folk tales after his spell in Kiev painting frescoes in the cathedral there.
Described as a Symbolist, he painted a wide range of Russian and Slavic folk tales, and was a friend of Ilya Repin.
Moreau defined painting as “this language of symbol, myth and sign”, and this is his greatest expression of that.
Moreau is often claimed as a ‘father of Symbolism’, or even a Symbolist. A detailed look at his first great success at the Salon: is it regular narrative or symbolist?
His last chance to establish ‘modern’ history painting, with the Napoleonic Wars and the death of Admiral Lord Nelson.
With ‘modern history paintings’ long behind him, he turned to literary subjects and classical histories once more.
He took a break from ‘modern history’ painting in the 1780s, making religious works and even some landscapes, including some unknown gems.
The Eclectic Light Company 