Pasiphae and the Bull - Gustave Moreau
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Beskrivning
A haunting Symbolist interpretation of the Greek myth of Pasiphae, rendered in deep, atmospheric tones and golden light by Gustave Moreau.
Gustave Moreau, a central figure in the French Symbolist movement, frequently turned to classical mythology to explore themes of desire, fate, and the supernatural. In this work, he depicts the Cretan queen Pasiphae, who stands in a shadowed, wooded setting alongside the bull sent by Poseidon. Moreau avoids the literal narrative of the myth, choosing instead to create an atmosphere of heavy, dreamlike tension. The figures are partially obscured by the dense, dark foliage, which creates a sense of enclosure and mystery.
The composition is defined by a contrast between the dark, earthy tones of the forest and the luminous, golden light emanating from the horizon. This light draws the eye across the canvas, suggesting a distant, unreachable space beyond the immediate drama of the figures. Moreau employs a technique that blends precise detail with areas of looser, more atmospheric brushwork, a hallmark of his later style. The presence of the bull, rendered with a sombre, almost spectral quality, adds to the unsettling nature of the scene.
Moreau was known for his rejection of the objective realism favoured by his contemporaries. He preferred to construct worlds that felt removed from time, often layering his surfaces with glazes to achieve a jewel-like quality. This painting reflects his interest in the psychological dimensions of ancient stories, focusing on the internal state of his subjects rather than their outward actions. The work remains a characteristic example of his ability to transform classical subjects into personal, enigmatic visions, where the environment itself acts as a participant in the narrative. By situating the figures within this thick, primeval forest, Moreau invites the viewer to consider the myth not as a historical event, but as a recurring, haunting archetype.
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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
Pasiphae and the Bull - 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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