Diomedes Devoured by his Horses - Gustave Moreau
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A dramatic depiction of the Greek myth of King Diomedes, rendered in the dark, atmospheric style characteristic of French Symbolist painter Gustave Moreau.
Gustave Moreau, a central figure in the French Symbolist movement, produced this work during the mid-1860s. The painting depicts the final labour of Hercules, who was tasked with capturing the man-eating horses of the Thracian king, Diomedes. Moreau focuses on the violent conclusion of the myth, where the king meets his end at the jaws of his own beasts.
The composition is set against a backdrop of crumbling classical architecture, which provides a sense of historical distance and decay. Moreau employs a dark, atmospheric palette, using shadows to obscure parts of the scene while drawing attention to the struggle between the human figure and the animals. The horses are rendered with a sense of frenzied energy, their forms twisting in a chaotic manner that contrasts with the static, ruined masonry behind them.
Moreau was known for his interest in mythological subjects, often reinterpreting them through a lens of personal obsession and decorative detail. Unlike his contemporaries who favoured realism, Moreau preferred to construct dreamlike, often macabre, visions. This work demonstrates his ability to blend classical narrative with a highly individualistic, almost hallucinatory style. The figures are positioned to create a sense of immediate, visceral action, yet the overall effect remains detached, as if the event were occurring in a distant, forgotten realm. The use of light is particularly calculated, catching the musculature of the horses and the pale skin of the falling king, which serves to isolate the primary action from the surrounding gloom. This piece is representative of the artist's fascination with the darker aspects of ancient lore, presented with a technical precision that defined his career.
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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
Diomedes Devoured by his Horses - 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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