Ibis (Study from Jardin des Plantes) - Gustave Moreau
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Beschreibung
A delicate watercolour study of an ibis, captured by French Symbolist Gustave Moreau at the Jardin des Plantes in 1896.
This study of an ibis, executed by Gustave Moreau in 1896, offers a glimpse into the artist's observational practices. While Moreau is widely recognised for his dense, mythological compositions and Symbolist themes, his work frequently included direct studies from nature. This piece was produced at the Jardin des Plantes in Paris, a location that provided the artist with access to exotic specimens.
The watercolour demonstrates a focus on form and colouration. The bird is rendered with a light touch, using washes of burnt sienna and ochre to define the plumage, while the neck and head remain largely unpainted, allowing the paper to provide the base tone. The graphite underdrawing remains visible, revealing the artist's initial process of capturing the creature's posture and proportions. The long, curved beak is depicted with precision, reflecting the artist's attention to anatomical detail.
Unlike the heavily embellished canvases for which Moreau is known, this work is restrained. It lacks the decorative excess of his finished paintings, instead presenting a clear, objective view of the subject. The inclusion of the artist's initials and the date at the bottom of the sheet confirms its status as a personal record of his observations. This print captures the quiet, analytical side of an artist who spent much of his career constructing elaborate, imaginary worlds. It serves as a reminder of the foundational role that direct observation played in the development of his broader artistic output.
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Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Ibis (Study from Jardin des Plantes) - Gustave Moreau
Artist Biography
Gustave Moreau
He was born in Paris in 1826, a sickly, solitary child who drew compulsively. He trained at the Ecole des Beaux-Arts and fell under the influence of Theodore Chasseriau, an eclectic painter whose depictions of enigmatic sea goddesses left a permanent mark. Chasseriau's death in 1856 shook Moreau badly enough to send him to Italy for two years, where he copied Mantegna, Carpaccio and the Venetians, filling notebooks with studies that fed his work for decades.
His breakthrough came at the 1864 Salon with Oedipus and the Sphinx, a painting that fused classical mythology with a strange, jewelled intensity that critics struggled to categorise. He became the foremost Symbolist painter, working in a style guided by what has been called Neo-Platonist faith: a belief that the physical world was imperfect and that art could capture something closer to divine vision. He never married, regarding the career of an artist as "a true priesthood", though he maintained a discreet relationship with Alexandrine Dureux for decades, subsidising an apartment for her near his family home.
As a teacher at the Ecole des Beaux-Arts, Moreau proved unexpectedly open-minded. His students included Henri Matisse and Georges Rouault, both of whom credited his insistence on personal expression over academic formula. Andre Breton and Salvador Dali later claimed his Symbolist imagery as a direct precursor to Surrealism.
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