Gustave Moreau法国, 1826–1898The Infant Moses
可否一睹真容？
可以，正在迎客
正对公众展出。由谁担保，见下文。
- 核实
- 此状态始于
- 出处
- 博物馆
关于这幅画
Paris hosted the 1878 Exposition universelle, or world’s fair, to celebrate France’s recovery after the Franco-Prussian War of 1870. For the event, Gustave Moreau submitted a cycle of biblically themed paintings to reflect on the nation’s renewal. The series, which included this work as well as Jacob and the Angel (1874–78; also in Harvard’s collection) and David (1878), marked three stages of human life. Here Moreau celebrates the anticipation and promise associated with childhood: Moses, recognized by the rays emanating from his forehead, floats in his basket on the Nile, surrounded by the ruins of ancient Egypt. In a written commentary Moreau suggested the prophet’s enlightenment, noting the contrast between “this people of mummies, sphinxes, and gods with staring eyes and unmoving gaze” and “this fine human fruit full of sap and life.”
哈佛藝術博物館
作品信息
- 馆藏编号
- 1943.262
与此同时，在Gustave Moreau的生活中
完整生平1859–1888 · 工作地
Paris
1870–1875
Years without exhibiting: renewing his art
Disturbed by criticism that his work had become formulaic, Moreau stopped exhibiting for a few years and concentrated on renewing his art.
1875年9月18日 · 获奖
Knight of the Legion of Honour
1876
Return to the Salon: “Salome”
After the break Moreau returned to the Salon. That year he completed “Salome Dancing before Herod”, which announced the more painterly style that would characterize his later works.
1878
“Phaeton” at the World’s Fair stuns Redon
At the 1878 World’s Fair Moreau’s watercolour “Phaeton” so struck Odilon Redon that he wrote of its power to renew old art. Redon, like many critics of the time, saw Moreau’s chief merit in giving traditional painting a new direction, building a bridge between past and future.
1880
His last exhibition: “Helen” and “Galatea”
In 1880 Moreau took part in an exhibition for the last time, showing “Helen at the Walls of Troy”, in which the woman appears as a depraved creature guilty of war and the death of men, and “Galatea”, whose heroine is an object of desire on which the huge eye of the cyclops in love is vainly fixed.
