Figurenstudie

1859–1888 · Virkested

Paris

c. 1860

Alexandrine Dureux: a companion for life

Moreau apparently met Adelaide-Alexandrine Dureux soon after his return from Italy. In the following years he made many drawings and watercolours of her, as well as romantic caricatures of the two of them walking on clouds; he subsidised an apartment for her on rue Notre-Dame de Lorette, a few blocks from his home. The relationship was very discreet and known to only a few; his mother knew of it and was fond of Alexandrine.

1860

Degas paints Moreau’s portrait — and their paths part

In 1860 Degas painted a small portrait of Moreau, which hung in Moreau’s studio for the rest of his life. Their friendship began to drift: Degas soon fell under the influence of Manet and Impressionism, while Moreau stayed focused on history painting. Moreau once asked Degas whether he thought he could renew art through ballet, and Degas replied by asking whether Moreau thought he could do it with jewellery.

1862

The death of his father

In 1862 Moreau’s father, the architect Louis Moreau, died; he had encouraged his son’s drawing and instilled in him a classical culture.

1864

A Salon medal for “Oedipus and the Sphinx”

“Oedipus and the Sphinx”, one of Moreau’s first Symbolist paintings, won a medal at the Paris Salon of 1864 and established his reputation. One commentator likened it to a pastiche of Mantegna created by a German student who relaxes from his painting by reading Schopenhauer.