« Le seul rêve qui m’anime » Sources et création de La Péri de Gustave Moreau
Returning from his Italian sojourn in (1857-1859), Gustave Moreau definitively surrendered to his fascination with the Orient. In a list of subjects treated, or to be treated, figured at the date 1860, the mention of a “magnificent Indian carried by a dragon.” This study focuses on the invention of...
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| Format: | Article ou chapitre numérique |
| Sprog: | Français |
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2021
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| Online adgang: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Summary: | Returning from his Italian sojourn in (1857-1859), Gustave Moreau definitively surrendered to his fascination with the Orient. In a list of subjects treated, or to be treated, figured at the date 1860, the mention of a “magnificent Indian carried by a dragon.” This study focuses on the invention of this Oriental fairy, the fruit of diverse suggestions and the hybridization of several iconographic models. Everything was of use for enriching a repertory that the painter chose and brought together very meticulously in order to create an eclectic and exotic universe that would express “the eternal thought” to disconnect from a “chronology [that was] childish” and limiting. Breaking off from the orientation of the art of his time, Moreau did not want to attach his creations to historical reality, but rather to transfigure this latter into a modern language capable of renewing the history painting of his period that he considered reduced to affectation and that he preferred to leave to pedants “stuffed full of badly learned Latin.” |
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