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ARTIST BIOGRAPHIES

Alston, Charles

Angelico, Beato

Arp, Jean (Hans)

Avercamp, Hendrik

Bannister, Edward

Bazille, Jean Frederic

Bearden, Romare

Bellows, George

Benson, Frank Weston

Benton, Thomas Hart

Bierstadt, Albert

Bingham, George Caleb

Boccioni, Umberto

Bonnard, Pierre

Botticelli, Allesandro

Boucher, Francois

Boudin, Eugene-Louis

Bouguereau, Adolphe William

Braque, Georges

Brauner, Victor

Bricher, Alfred Thompson

Bronzino, Agnolo

Brouwer, Adriaen

Brueghel the Elder, Pieter

Buffet, Bernard

Calder, Alexander

Carqueville, William

Chambers, Thomas

Chase, William Merritt

Constable, John

Corot, Jean-Baptiste Camille

Courbet, Gustave

Cranach (the Elder), Lucas

Currier and Ives

da Vinci, Leonardo

Daumier, Honore

David, Jacques-Louis

de Chirico, Giorgio

de Goya, Francisco Jose

de Hooch, Pieter

de Vlaminck, Maurice

Delacroix, Eugene

Delaroche, Paul

Demuth, Charles

di Bondone, Giotto

Doughty, Thomas

Duchamp, Marcel

Durer, Albrecht

Eilshemius, Louis

Evergood, Philip

Fantin-Latour, Henri

Feininger, Lyonel

Foujita, Tsuguharu

Fragonard, Jean-Honore

Frankenthaler, Helen

Friedrich, Caspar David

Frieseke, Frederick Carl

Fuseli, John Henry

Gainsborough, Thomas

Gentileschi, Orazio

Gericault, Theodore

Ghirlandaio, Domenico

Giacometti, Alberto

Giorgione, Giorgio

Glackens, William

Gottlieb, Adolph

Gottlob, Fernand

Grunewald, Matthias

Guys, Constantin

Harnett, William Michael

Hartley, Marsden

Henry, Edward Lamson

Hilliard, Nicholas

Hobbema, Meindert

Hogarth, William

Holbein(the younger), Hans

Holder, Geoffrey

Hui-tsung, Emperor

Hunt, William Holman

Indiana, Robert

Johnson, Frank Tenney

Johnson, William

Kandinsky, Wassily

Kirchner, Ernst Ludwig

Kiyonaga, Torii

Kokoschka, Oskar

Koryusai, Koryusai

Kuniyoshi, Yasuo

Kyosai, Kawanabe

Lane, Fitz Hugh

Laurencin, Marie

Lawrence, Jacob

Lawrence, Sir Thomas

Lee-Smith, Hughie

Leigh, William Robinson

Leyster, Judith

Lichtenstein, Roy

Liebermann, Max

Lindner, Richard

Lippi, Fra Fillipo

Lorrain, Claude

Luini, Bernardino

Maillol, Aristide

Marquet, Albert

Martin, Henri-Jean Guillaume

Michelangelo - Buonarotti, Michelangelo

Millet, Jean-Francois

Modigliani, Amedeo

Moreau, Gustave

Morisot, Berthe

Motherwell, Robert

Motley, Archibald John Jr

Mucha, Alphonse Marie

O'Keeffe, georgia

Pissarro, Camille

Pollock, Jackson

Poussin, Nicolas

Raffaelo - Sanzio, Raphael

Rauschenberg, Robert

Redoute, Pierre-Joseph

Remington, Frederic

Renoir, Pierre-Auguste

Reynolds, Sir Joshua

Rossetti, Dante Gabriel

Rouault, Georges

Rubens, Peter Paul

Seurat, Georges

Steinlen, Theophile Alexandre

Tiepolo, Giovanni Domenica

Tintoretto, Jacopo Robusti

Toulouse-Lautrec, Henri

Turner, Joseph Mallord William

van Beyeren, Abraham

van Dyck, Sir Anthony

van Gogh, Vincent

van Huysum, Jan

van Rijin, Rembrant

Velazquez, Diego

Vermeer, Johannes Jan

von Jawlensky, Alexej

Vuillard, Edouard

Watteau, Jean-Antoine

Whistler, James Abbott Macneill

Williams, Walter

Woodville, Richard

Wyeth, Newell Convers

Yokoyama, Taikan

Gustave Moreau

Birth Year : 1826
Death Year : 1898
Country : France

Gustave Moreau spent the early part of his career obsessed with the ideas of Romanticism, believing that art was intended for the presentation of the beautiful as a perfect combination of ideas and form. Throughout his life he struggled to elevate his work to the level of an unapproachable ideal. Moreau deplored the salons that so strongly dictated artistic styles and tastes, yet he never strictly abandoned the themes and motifs that were the stock-in-trade of the Salon painter. Much of his work is illustrative, depicting the mystic idealisms prevalent at the time or concerned with the Romantic thematics of women-Helen, Delilah, Circe, Salome-as bewitchers or wily temptresses of men. From this particular perspective, the ideal of purity was inevitably opposed to sex and sensuousness. Women were equated with nature-a mindless force of impurity - while men, on the other hand, were elevated to the status of Artist-who must wrestle with this force and emerge transcendent, at one with all that is beautiful in human experience. The themes prevalent in Moreau's work were continually reworked, sometimes thirty years after they were begun, and it is therefore difficult to establish a chronology of his painting.

However, in the Salon of 1876, one of Moreau's versions of "Salome," the painting "Hercules" and the "Hydra of Leme", electrified the audiences and established the style by which Moreau came to be known to the public. The artist was, by this time, fifty years old. The criticism often expressed a strong ambition for allegory. It was these allusions to unconscious desires and dreams that were, however, to establish him as a forerunner to the Surrealists. Even more important in terms of twentieth-century art than he is to 19th Century models, Moreau created a private oeuvre that he kept to himself and exhibited only to a few close friends and students. In these he created a new aesthetic that included remarkable textures and strong colorations close to an abstract style. At the end of his life, in 1892, Moreau became a professor at the Ecole des Beaux Arts, where he proved a gifted teacher. Among his devoted pupils were Rouault and Matisse. Moreau believed of his teaching that: "I am the bridge over which certain of you will pass." His teaching indeed proved inspirational, not only to the next generation, but to the Surrealists that followed.

Gustave Moreau
Hesiod and the Muses

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