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?
narrative
Thirteen bays of four small frescoes each telling the Old Testament stories from the Creation to the building of the Temple, and four of the life of Christ.
Orlando quickly finishes off Agramante and Gradasso. Rinaldo’s love for Angelica has become an obsession, and he sets off to find her in the east.
As one of the last true Renaissance men, his artistic and diplomatic careers depended on his patrons – as much as they depended on him.
The painting that made Saint Cecilia the patron saint of music, a vision of Ezekiel, Pope Leo X, and a woman who could be a courtesan or the artist’s partner.
While Ruggiero ends up shipwrecked on a rock, Orlando and his team of paladins face combat with Agramante on the island of Lampedusa.
A commission for ten cartoons from which tapestries were to be made. These were to be hung along the walls of the chapel, telling the lives of Sts Peter and Paul.
As Agramante looks for a way out, Orlando leads an assault on the city of Biserta, which destroys it. But what plan is Agramante hatching against Orlando?
A Saracen solution backfires badly, forcing the invading forces to sail back to North Africa. What they’re not expecting is an enemy fleet. And Orlando recovers his wits at last.
His last chance to establish ‘modern’ history painting, with the Napoleonic Wars and the death of Admiral Lord Nelson.
