Gustave Moro Diomed devouring with his horses. Ten ripped paintings from famous artists who do not everyone wants to hang at home
Usually, painters create pictures that you want to consider again and again, admiring the beauty transmitted on the canvas. But not all the canvas of outstanding artists cause only positive emotions. There are also such pictures in the museum collections, after viewing which the blood is blocked in the veins and there is an unpleasant feeling of anxiety. In this review, masterpieces of world painting, which is impossible to look without shudder.
Artemisia Gezheliski "Judith, beheads of Oolferna
The picture "Judith, beheading Oloferna" reports the biblical plot in which the widow, seducing the Assyrian commander-invader, kills him after bed jice. For the Italian artemisia artemisia, Jegeniski was a canvas resulting with personal experiences. At the age of 18, it was discounted by artist Agrostino Tassy, \u200b\u200bwho worked in her father's workshop. The girl had to postpone the humiliating 7-month trial, after which it was forced to move from Rome to Florence, where he wrote his famous famous picture.
Heinrich Fusli "Nightmare Nightmare"
Almost all the canvas of the Swiss artist Heinrich Fusli contain an erotic component. In the picture "Night Mountain" the artist depicted a demon of the Incuba, who appeared to the woman to seduce her. According to medieval beliefs, depressed sexual desires were manifested in people in the form of nightmares.
Gustav Mora "Dieded, devoured by his horses"
The French artist Gustav Moro in his work often applied to mythological theme. His picture "Diomed, devoured by his horses," serves as a reference to the 12 exploits of Hercules. The hero was to go to the king Diiseda in Thrace to get fierce horses, which the owner fed human meat. Hercules cruelly dealt with the king and threw it on an animal confused.
Jerome Bosch "Garden of earthly pleasures"
Triptych "Garden of earthly pleasures" is considered the most famous picture of Jerome Bosch. Its central part is devoted to the sin of solvents. A variety of rather strange images overwhelms the picture, as if warned the viewer about what can happen if a temptation can occur.
Peter Paul Rubens "Saturn, devouring his son"
The cracked canvas of Peter Paul Rubens passes the mythological plot about God Saturn (in Greek mythology - Kronos), which was fed that one of his children would destroy the father. That is why Saturn devoured each of his offspring.
Hans Memling "Fur Funny"
Not the most pleasant impressions causes the left panel of Triptych "Justa of Earth". On it, the author depicted his vision of hell. Looking at a terrible canvas, a man who lived a few centuries ago was to think about more righteous life, so as not to get into the hellish boiler after death.
William Bugro "Dante and Vergili in hell"
Getting Started to create your work "Dante and Vergil in hell", French painter William Bugro was inspired by the "Divine Comedy" poem. The action in the picture takes place in the 8th circle of hell, where the fakes and falsifiers are punished. Cursed souls and after death can not calm down, biting each other. Hypertrophored poses of sinners, the tension of the muscles - all this is designed to give the viewer and the horror of what is happening to the viewer.
Francisco Goya "Disasters of War"
In the period between 1810-1820, Francisco Goya created 82 engravings who later received the name of the "disaster of the war". In their works, the artist made a focus not on the heroism of the commander, but on the sufferings of ordinary people. Goya intends to fulfill work in black and white tones to "not distract" the viewer from the main idea that there are no excuses.
For the sake of art Gustave Moro. Voluntarily isolated ourselves from society. The mystery, which he surrounded his life, turned into a legend about the artist.
Moro was born on April 6, 1826 in Paris. His father, Louis Moro, was an architect, whose obligations included to maintain urban public buildings and monuments in proper form. The death of the only sister Moreau, Camillas, rallied the family. The mother of the artist, Polina, was tied to his son and, Ovdov, did not part with him until his death in 1884.
From early childhood, parents encouraged the child's interest in drawing and joined him to classic art. Gusti read a lot, loved to consider albums with the reproductions of masterpieces from the Louvre collection, and in 1844 at the end of the school received a bachelor's degree rather than a rare achievement for young bourgeois. Satisfied with the success of the Son, Louis Moro defined it in the artist-neoclassicist artist Francois-Eduard Pico (1786-1868), where the young moro got the necessary training for admission to the school of fine arts, where in 1846 he successfully passed the exams.
Saint George and Dragon (1890)
Griffin (1865)
Training here was extremely conservative and mainly reduced to copying gypsum blinds from ancient statues, drawing a male nude nature, study of anatomy, prospects and painting history. Meanwhile, Moro became increasingly fond of the colorful painting of Delacroix and especially his follower of Theodore Chasserio. I could not win the prestigious Roman prize (the winners of this competition school at his own expense went to study in Rome), in 1849, Moro left the school walls.
The young artist paid his attention to the salon - the annual official exhibition on which every beginning to get into the hope of being seen criticism. The paintings represented by Moro in the cabin in the 1850s, for example, "Song of the Song" (1853), found a strong influence of Sasserio, - made in a romantic manner, they were distinguished by piercing flavor and frantic eroticism.
Moro never denied that very many in the work was obliged to Shazerio, her friend, early from life (aged 37 years). Shocked by his death, Moro devoted him to the memory of the canvas "young man and death".
The influence of Theodore Chasserio is obvious and in two large canvases that Moro began writing in the 1850s - in the "Briangies of Penels" and "daughters of the Tezay". Working on these huge, with a lot of details, paintings, he almost did not leave the workshop. However, this high demanding to himself later became the cause according to which the artist left the work unfinished.
In the fall of 1857, seeking to replenish the gap in education, Moro went on a two-year-old trip in Italy. The artist was fascinated by this country and made hundreds of copies and sketches from the masterpieces of the Masters of the Renaissance. In Rome, he fell in love with Michelangelo, in Florence - in the frescoes of Andrea Del Sarto and Fra Angeliko, in Venice, Meshoyo copied Carpaccio, and in Naples, he studied the famous frescoes from Pompeii and Herkulanum. In Rome, the young man met Edgar Degas, together they have repeatedly went on sketches. The inspired by the creative atmosphere, Moro wrote to a friend in Paris: "From that time, and forever, I'm going to become a hermit ... I am convinced: nothing will make me minimize from this way."
Pary (sacred elephant). 1881-82
Returning home in the autumn of 1859, Gustave Moro with zeal began to write, but it was expected to change. At that time, he met the governess, which served in the house near his workshop. Young woman called Alexandrin Durou. Moro fell in love and, despite the fact that it was categorically refused to marry, she was faithful to her over 30 years. After the death of Alexandrina in 1890, the artist dedicated her one of the best cloths - "Orpheus at the Tomb of Eurydika."
Orpheus at the tomb of Euridic (1890)
In 1862, the Father of the artist died, and did not know what success awaits his son in the coming decades. Throughout the 1860s, Moro wrote a series of paintings (it is curious that they were all vertical in the format), which were very well met in the cabin. The most laurels went to the Frees and Sphinx canvas exhibited in 1864 (the picture was 8,000 francs purchased at the auction of Prince Napoleon). That was the time of the Triumph of the realistic school, which was headed by Kurba, and critics declared Moro with one of the Savior of the genre of historical painting.
The Franco-Prussian War, flashed in 1870, and subsequent events associated with the Paris Commune had a deep impact on the Moro. For several years, until 1876, he was not exhibited in the cabin and even refused to participate in the decoration of the Pantheon. When, finally, the artist returned to the salon, it introduced two paintings created on one plot - a complex for perception of a canvas written by oil, "Salome" And big watercolor "Phenomenon", disapprovingly met criticism.
This picture of Moro is an unusual interpretation of the biblical scene, in which beautiful Salome dances in front of the king of Herod, who promised for this dance to fulfill anyone. To bring the mother of Mother Iodiada Salome asked the king's head of John the Baptist. So the queen wanted to take revenge on John the Forerun, who condemned her marriage with Herod. In Moro's masterpiece, the head of John the Baptist is represented as a vision, which was Salome in Oleole Heavenly Light. Some critics believe that the picture shows the moment preceding the celave of the head of John the Forerunner, and thus Salome sees the consequences of his act. Others believe that the scene, which the artist depicted, is happening after the execution of the saint. Be that as it may, but on this dark, saturated with the parts of the canvas, we observe how shocked Salome swimming through the air with a terrible ghost.
John's eyes look straight on Salome, and along the long hair of the forerunner flows into the floor thick blood flows. Its chopped head is ferry in the air surrounded by bright radiance. This halo consists of radial rays - so the radiance was shone in the Middle Ages and in the Renaissance Epoch, it was the sharp rays that emphasize the alarming atmosphere of the picture.
Salome, dancing in front of Herod (1876)
However, Moro's creativity admirers perceived his new work as a call for fantasy. He became the idol symbolist writers, among whom Gyuismans, Lorren and Peladan. However, Moro did not agree with the fact that he was counted for the symbolists, in any case, when in 1892 Peladan asked Moro to write a laudatory feedback about the Symbolist Symbolists and Cross, the artist resolutely refused.
Saint Sebastian and Angel (1876)
Meanwhile, the unfriendly for Moro Glory did not deprived his private customers who still bought his small cloths written, as a rule, on mythological and religious plots. For the period from 1879 to 1883, he created four times more paintings than in the 18th previous years (the most profitable series of 64 watercolors, created on the bass of Lafontaine for Marseille Rich Antoni Roa - for each watercolor Moro received from 1000 to 1500 francs). And the artist's career went uphill.
In 1888 he was elected a member of the Academy of Fine Arts, and in 1892, 66-year-old Moro became the head of one of the three workshops of the school of elegant arts. His disciples were young artists, glorified in the 20th century, - Georges Ruo, Henri Matisse, Albert Mark.
In the 1890s, Moro's health deteriorated, he thought about the completion of his career. The artist decided to return to unfinished work and invited some of his students to the assistants, including the pet Ruo. At the same time, Moro began his latest masterpiece "Jupiter and Semele".
The only thing that the artist is now sought, to turn his home into the memorial museum. He was in a hurry, enthusiastically placed the future location of the paintings, argued, dismissed them - but unfortunately did not have time. Moro died from cancer on April 18, 1898 and was buried in the Montparnasse cemetery in one grave with his parents. He bequeathed his mansion together with the workshop, where about 1,200 paintings and watercolors were kept, as well as more than 10,000 drawings.
Gustave Moro always wrote what he wanted. Finding a source of inspiration in photographs and magazines, medieval tapestries, antique sculptures and oriental art, he managed to create his own fantastic world existing out of time.
Music leaving his father Apollo (1868) 
If you consider the creativity of Moro through the prism of the art history, it may seem anchronic and strange. The addiction of the artist to mythological plots and its fancy manner of writing was poorly combined with the era of the heyday of the realism and the origin of impressionism. However, during the lifetime of Mora, his canvases were recognized and bold and innovative. Seeing Watercolor Moreau "Phaeton" At the 1878 World Exhibition, the artist Odon Redon, shocked by work, wrote: "This work is able to pour new wine into the fur of old art. The vision of the artist is distinguished by freshness and novelty ... At the same time, he follows the inclinations of his own nature."
Redon, like many critics of the time, saw the main merit of Moro in the fact that he managed to give a new direction of traditional painting, transfer the bridge between the past and the future. The writer-symbolist Gyuismans, the author of the cult decadent novel "on the contrary" (1884), considered Moro "a unique artist", not having "neither real predecessors or possible followers."
Not everything, of course, thought the same way. Critics of the salon were often called the Moro Moro "eccentric". Back in 1864, when the artist showed "Edip and Sphinx" - the first picture, truly attracted the attention of critics, - one of them noted that this canvas reminded him of "Popourry on the topics of Manteny, created by a German student, having rest during work for reading Shopenhauer. "
Odyssey beats the grooms (1852)
Odyssey beats the grooms (part)
Moro himself did not want to recognize himself or unique nor torn off from time, neither more, incomprehensible. He saw himself as an artist-thinker, but at the same time, which especially emphasized, put the flavor, line and shape on the first place, and not verbal images. Wanting to protect yourself from unwanted interpretations, he often accompanied his paintings with detailed comments and sincerely regretted that "not a single person who could seriously argue about my painting."
Hercules and Lernei Hydra (1876)
Moro has always paid increased attention to the works of old masters, thereby "old furs", in which, by defining Redon, wanted to pour his "new wine". For many years, Moro studied the masterpieces of Western European artists, and first of all representatives of Italian revival, but heroic and monumental aspects were interested in it much less than the spiritual and mystical side of the creativity of the great predecessors.
The deepest respect of Moro was tested to Leonardo da Vinci, which was 19 V. considered the forerunner of European romanticism. In the house of Moro, the reproductions of all paintings of Leonardo presented in the Louvre were kept, and the artist often turned to them, especially when he needed to portray the rocky landscape (like, for example, on the "Orpheus" and "Prometheus" canvases) or fellow men who reminded Leonardo The image of Saint John. "I would never have learned to express myself," Moro says, being a mature artist, - without permanent meditations in front of the work of the geniuses: "Sikstinskaya Madonna" and some creations of Leonardo. "
Thracian girl with Orpheus head on his lyre (1864)
The worship of Moro in front of the Masters of the Renaissance was characteristic of many artists of the 19th century. At that time, even the artists-classicists like Engr, looking for new, not typical of classic painting plots, and the rapid growth of the colonial French empire awakened the interest of the audience, especially the people creative, to all exotic.
Peacock, complaining by Junon (1881)
The archives of the Museum of Gustava Moro allow us to judge the incredible latitude of the artist's interests - from medieval tapestries to antique VAZ, from Japanese wood engravings to an erotic indian sculpture. Unlike Engra, which was limited exclusively by historical sources, Moro boldly joined the images taken from different cultures and eras on the canvas. His "Unicorns"For example, as if borrowed from the medieval painting gallery, and the phenomenon canvas is a real collection of Eastern exotic.
Unicorns (1887-88)
Moro deliberately sought to satisfy his paintings as amazing details as much as possible, it was his strategy he called "the need of luxury." For his paintings, Moro worked for a long time, sometimes for several years, constantly adding all new and new details, which multiplied on the canvas as if reflected in the mirrors. When the artist has not enough space on canvas, he lasted additional stripes. It so happened, for example, with the picture "Jupiter and Semele" and with the unknown web "Jason and Argonauts".
Moro's attitude to the picture resembled the attitude towards their symphony poems of his great contemporary Wagner - both creators the most difficult to bring their works to the final chord. Moro Moro Leonardo da Vinci also left many work unfinished. The paintings presented in the exposition of the Museum of the Moro Museum are clearly shown that the artist could not fully embody the plans of the intended images on the canvas.
Over the years, Moro, more and more believed that he remains the last keeper of traditions, and rarely responded with approval about modern artists, even those with which was friendly. Moro believed that the painting of impressionists was superficial, deprived of morality and could not not lead these artists to spiritual death.
Diomed devoured by his horses (1865) 
However, Moro's connections with modernism are much more complicated and thinner than seemed to love his creativity decades. Moro's disciples on the school of fine arts, Matisse and Ruo, always with great warmth and appreciation responded about their teacher, and his workshop was often called the "Modernism cradle." For radar, modernism Moro was in his "following his own nature." It is this quality in combination with the ability to make a self-expression in every way to develop moro in his disciples. He taught them not only the traditional basics of skill and copying masterpieces of the Louvre, but also creative independence - and the lessons of the master did not pass in vain. Matisse and Roo made one of the founders of Formism, the first influential artistic flow of the 20th century, based on the classical ideas about color and form. So Moro, seemed by the intense conservative, became the godfather of the direction that opened new horizons in the painting of the 20th century.
The last romance of the 19th century Gustave Moro called his art "passionate silence." In his work, a sharp color gamma was harmoniously combined with the expression of mythological and biblical images. "I never sought dreams in reality or reality in dreams. I gave freedom to imagination," I loved to repeat Moro, considering the fantasy of one of the most important forces of the soul. Critics saw a representative of symbolism in it, although the artist himself repeatedly and resolutely rejected this label. And no matter how relocating Moro on the game of his fantasy, he always thoroughly and deeply thought out the flavor and composition of the canvas, all the features of lines and forms and never afraid of the most bold experiments.
Self portrait (1850)
For the sake of art Gustave Moro. Voluntarily isolated ourselves from society. The mystery, which he surrounded his life, turned into a legend about the artist.
Gustava Moro life (1826 - 1898), like his work, seems completely torn off from the realities of the French life 19 V. Listing the circle of communication with family members and close friends, the artist devoted himself entirely to painting. Having a good earnings from his canvases, he was not interested in modifications in the art market. The famous French writer-symbolist Gyuismans very accurately called Moro "Hermit, settled in the heart of Paris."
Oedip and Sphinx (1864)
Moro was born on April 6, 1826 in Paris. His father, Louis Moro, was an architect, whose obligations included to maintain urban public buildings and monuments in proper form. The death of the only sister Moreau, Camillas, rallied the family. The mother of the artist, Polina, was tied to his son and, Ovdov, did not part with him until his death in 1884.
From early childhood, parents encouraged the child's interest in drawing and joined him to classic art. Gusti read a lot, loved to consider albums with the reproductions of masterpieces from the Louvre collection, and in 1844 at the end of the school received a bachelor's degree rather than a rare achievement for young bourgeois. Sonate Son's success, Louis Moro defined it in the artist-neoclassicist artist Francois-Eduard Pico (1786-1868), where the young moro received the necessary training for admission to the school of fine arts, where in 1846 he successfully passed the exams
Saint George and Dragon (1890)
Griffin (1865)
Training here was extremely conservative and mainly reduced to copying gypsum blinds from ancient statues, drawing a male nude nature, study of anatomy, prospects and painting history. Meanwhile, Moro became increasingly fond of the colorful painting of Delacroix and especially his follower of Theodore Chasserio. I could not win the prestigious Roman prize (the winners of this competition school at his own expense went to study in Rome), in 1849, Moro left the school walls.
The young artist paid his attention to the salon - the annual official exhibition on which every beginning to get into the hope of being seen criticism. The paintings represented by Moro in the cabin in the 1850s, for example, "Song of the Song" (1853), found a strong influence of Sasserio, - made in a romantic manner, they were distinguished by piercing flavor and frantic eroticism.
Moro never denied that very many in the work was obliged to Shazerio, her friend, early from life (aged 37 years). Shocked by his death, Moro devoted him to the memory of the canvas "young man and death".
Salome, dancing in front of Herod (1876)
However, Moro's creativity admirers perceived his new work as a call for fantasy. He became the idol symbolist writers, among whom Gyuismans, Lorren and Peladan. However, Moro did not agree with the fact that he was counted for the symbolists, in any case, when in 1892 Peladan asked Moro to write a laudatory review about the Symbolist Symbolist Symbolists and Cross, the artist resolutely refused
Meanwhile, the unfriendly for Moro Glory did not deprived his private customers who still bought his small cloths written, as a rule, on mythological and religious plots. For the period from 1879 to 1883, he created four times more paintings than in the 18th previous years (the most profitable series of 64 watercolors, created on the bass of Lafontaine for Marseille Rich Antoni Roa - for each watercolor Moro received from 1000 to 1500 francs). And the artist's career went uphill.
Odyssey beats the grooms (part)
Moro himself did not want to recognize himself or unique nor torn off from time, neither more, incomprehensible. He saw himself as an artist-thinker, but at the same time, which especially emphasized, put the flavor, line and shape on the first place, and not verbal images. Wanting to protect yourself from unwanted interpretations, he often accompanied his paintings with detailed comments and sincerely regretted that "not a single person who could seriously argue about my painting."
Hercules and Lernei Hydra (1876)
Moro has always paid increased attention to the works of old masters, thereby "old furs", in which, by defining Redon, wanted to pour his "new wine". For many years, Moro studied the masterpieces of Western European artists, and first of all representatives of Italian revival, but heroic and monumental aspects were interested in it much less than the spiritual and mystical side of the creativity of the great predecessors.
The deepest respect of Moro was tested to Leonardo da Vinci, which was 19 V. considered the forerunner of European romanticism. In the house of Moro, the reproductions of all paintings of Leonardo presented in the Louvre were kept, and the artist often turned to them, especially when he needed to portray the rocky landscape (like, for example, on the "Orpheus" and "Prometheus" canvases) or fellow men who reminded Leonardo The image of Saint John. "I would never have learned to express myself," Moro says, being a mature artist, - without permanent meditations in front of the work of the geniuses: "Sikstinskaya Madonna" and some creations of Leonardo. "
Thracian girl with Orpheus head on his lyre (1864)
The worship of Moro in front of the Masters of the Renaissance was characteristic of many artists of the 19th century. At that time, even the artists-classicists like Engr, looking for new, not typical of classic painting plots, and the rapid growth of the colonial French empire awakened the interest of the audience, especially the people creative, to all exotic.
Peacock, complaining by Junon (1881)
The archives of the Museum of Gustava Moro allow us to judge the incredible latitude of the artist's interests - from medieval tapestries to antique VAZ, from Japanese wood engravings to an erotic indian sculpture. Unlike Engra, which was limited exclusively by historical sources, Moro boldly joined the images taken from different cultures and eras on the canvas. His"Unicorns"For example, as if borrowed from the medieval painting gallery, and the phenomenon canvas is a real collection of Eastern exotic.
Unicorns (1887-88)
Moro deliberately sought to satisfy his paintings as amazing details as much as possible, it was his strategy he called "the need of luxury." For his paintings, Moro worked for a long time, sometimes for several years, constantly adding all new and new details, which multiplied on the canvas as if reflected in the mirrors. When the artist has not enough space on canvas, he lasted additional stripes. It so happened, for example, with the picture "Jupiter and Semele" and with the unknown web "Jason and Argonauts".
Diomed devoured by his horses (1865)
However, Moro's connections with modernism are much more complicated and thinner than seemed to love his creativity decades. Moro's disciples on the school of fine arts, Matisse and Ruo, always with great warmth and appreciation responded about their teacher, and his workshop was often called the "Modernism cradle." For radar, modernism Moro was in his "following his own nature." It is this quality in combination with the ability to make a self-expression in every way to develop moro in his disciples. He taught them not only the traditional basics of skill and copying masterpieces of the Louvre, but also creative independence - and the lessons of the master did not pass in vain. Matisse and Roo made one of the founders of Formism, the first influential artistic flow of the 20th century, based on the classical ideas about color and form. So Moro, seemed by the intense conservative, became the godfather of the direction that opened new horizons in the painting of the 20th century.
The last romance of the 19th century Gustave Moro called his art "passionate silence." In his work, a sharp color gamma was harmoniously combined with the expression of mythological and biblical images. "I never sought dreams in reality or reality in dreams. I gave freedom to imagination," I loved to repeat Moro, considering the fantasy of one of the most important forces of the soul. Critics saw a representative of symbolism in it, although the artist himself repeatedly and resolutely rejected this label. And no matter how relocating Moro on the game of his fantasy, he always thoroughly and deeply thought out the flavor and composition of the canvas, all the features of lines and forms and never afraid of the most bold experiments.
Self portrait (1850)