GUSTAVE MOREAU (PARIS 1826-1898) - photo 1

GUSTAVE MOREAU (PARIS 1826-1898)

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€ 201 600
Auction dateClassic
20.03.2024 15:00UTC +02:00
Auctioneer
CHRISTIE'S
Event location
France, Paris
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ID 1172976
Lot 101 | GUSTAVE MOREAU (PARIS 1826-1898)
GUSTAVE MOREAU (PARIS 1826-1898)

Le Bon Samaritain (Luc, chapitre 10: 25-37)

signé avec initiales ‘GM’ (en bas à droite)

graphite, aquarelle et gouache

21 x 29,4 cm (8 ¼ x 11 5⁄8 in.)





Provenance

Edmond Taigny (1828-1906), Paris, avec son numéro associé ‘876’ (selon une inscriptions au verso du cadre)

Galerie Claude Bernard, Paris.



Literature

P.-L. Mathieu, Gustave Moreau. Monographie et nouveau catalogue raisonné de l’œuvre achevé, Paris, 1998, p. 317, n° 141, ill.



Further details

GUSTAVE MOREAU, THE GOOD SAMARITAN, GRAPHITE, WATERCOLOUR, BODYCOLOUR, SIGNED WITH INITIALS

Although Gustave Moreau is associated with Symbolism and never received a religious education, he maintained a close relationship with the Bible throughout his career, depicting episodes from both the Old and the New Testament. After graduating from the École des Beaux-Arts, his first works were of religious inspiration, such as the Pietà presented at the Salon of 1852 (no. 935; current location unknown; see Mathieu, op. cit., no. 11, ill.). Many of these religious subjects, particularly those taken from the Old Testament, are the pretext for depicting a beautiful female or male figure, such as Bathsheba, Delilah, King David or Salome, and it is such figures on which the artist’s modern reputation is based.
The parable of the Good Samaritan, stopping at the side of the road to help his fellow man, far from the great figures of the Old Testament, would nevertheless be depicted several times by Gustave Moreau: the Samaritan still on his horse approaching the beggar, then sitting next to him; or finally offering the exhausted beggar his horse or donkey to continue the journey. It is this last scene depicted in the present work.
Two paintings on canvas illustrate the first episode: one in a private collection (Mathieu, op. cit., no. 142, ill.), the other in the Musée Gustave Moreau (Gustave Moreau et la Bible, exhib. cat., Nice, Musée National du Message Biblique Marc Chagall, 1991, no. 56, ill.). Finally, a small painting on wood (23.8 x 32.2 cm) shows the Good Samaritan seated beside the beggar at the end of his strength, trying to lift him up (Musée d’Orsay, Paris, inv. RF MO P 2017 5; Mathieu, op. cit., no. 125, ill.).
The composition of this watercolour is very different from that of the three paintings mentioned above: the scene is no longer a rocky landscape, but a vast horizontal expanse where the sky occupies three-quarters of the composition. The execution is highly finished, greatly detailed precision and displaying a mastery in the use of colour typical of Gustave Moreau’s graphic work, which skilfully blends the transparency of watercolour with the density of gouache.
Edmond Taigny, who owned this watercolour around 1900, owned several other important works by Gustave Moreau, including a painting of Galatea, today in the Musée d’Orsay (inv. 85469).
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