Uma estranha magia: Salomé de Gustave Moreau

Gustave Moreau (French, 1826-1898). Salome Dancing Before Herod, 1874-76. oil on canvas; 143.5 X 104.3 cm. The Armand Hammer Collection; Gift of the Armand Hammer Foundation, Hammer Museum, Los Angeles. Photo: Robert Wedemeyer.

16 setembro - 9 dezembro, 2012

Hammer Museum - Los Angeles 

Gustave Moreau (French, 1826-1898), Salome Dancing, known as Salome Tattooed, 1874. oil on canvas; 92 x 60 cm. Musée Gustave Moreau, Paris. Photo: Rene-Gabriel Ojeda © Reunion des Musées Nationaux / Art Resource, NY.

Uma estranha magia: Salomé de Gustave Moreau, é dedicada à pintura a Dança Salomé diante de Herodes, uma das obras mais conhecidas da arte da coleção do museu  Armand Hammer.

A Strange Magic: Gustave Moreau’s Salome, is devoted to Gustave Moreau’s painting Salome Dancing before Herod, one of the best-known works of art in the museum’s Armand Hammer Collection. 

Gustave Moreau (French, 1826-1898). Salome Dancing, ca. 1876. Graphite; 12.9 x 10.9 cm. Musée Gustave Moreau, Paris. Photo: Tony Querrec © Reunion des Musées Nationaux / Art Resource, NY.

A exposição inclui cerca de 50 obras que acompanham  a pintura do Hammer - incluindo outraa pinturas , desenhos e estudos preparatórios - vindas do acervo do Museu Gustave Moreau, de Paris, muitas das quais nunca antes foram vistos em os EUA

The exhibition includes approximately 50 works to accompany the Hammer’s painting — including related paintings, drawings, and preparatory studies — drawn entirely from the collection of the Gustave Moreau Museum in Paris, many of which have never before been seen in the U.S. 

Gustave Moreau (French, 1826-1898). Study for Salome Dancing before Herod. ca 1876. pen and brown ink, 16 x 11 cm. Musée Gustave Moreau, Paris, Photo: Rene-Gabriel Ojeda © Reunion des Musées Nationaux / Art Resource, NY.

Uma estranha magia: Salomé de Gustave Moreau foi organizada pelo Museu Hammer em colaboração com o Museu Gustave Moreau , de Paris, e tem curadoria de Cynthia Burlingham, diretora do Grunwald UCLA Centro de Artes Gráficas e do vice-diretor de assuntos de curadoria do Museu Hammer. 

A Strange Magic: Gustave Moreau’s Salome is organized by the Hammer Museum in collaboration with the Gustave Moreau Museum in Paris and is curated by Cynthia Burlingham, director of the UCLA Grunwald Center for the Graphic Arts and deputy director of curatorial affairs at the Hammer Museum. The Hammer is the sole American venue for the exhibition.

Gustave Moreau (French, 1826-1898). Salome Dancing, ca. 1876. Graphite; 12.9 x 10.9 cm. Musée Gustave Moreau, Paris. Photo: Tony Querrec © Reunion des Musées Nationaux / Art Resource, NY.

"Esta exposição apresenta uma rara oportunidade para um estudo profundo do que muitos consideram ser uma das maiores pinturas Moreau", comenta Cynthia Burlingham. "O trabalho acompanhando a pintura do Hammer revela aspectos-chave do processo do artista e convida a uma compreensão mais íntima e nuances deste grande mestre francês".

“This exhibition presents a rare opportunity for a close, in-depth study of what many consider to be one of Moreau’s greatest paintings,” remarks Cynthia Burlingham. “The work accompanying the Hammer’s painting reveals key aspects of the artist’s process and invites a more intimate and nuanced understanding of this great French master.”

Gustave Moreau (French, 1826-1898), Study for Salome Dancing before Herod, ca. 1876, black chalk, 9.1 x 6.5 cm. Musée Gustave Moreau, Paris. Photo: Rene-Gabriel Ojeda © Reunion des Musées Nationaux / Art Resource, NY.

Gustave Moreau (1826-1898) fica a parte de seus contemporâneos realistas e impressionistas do século XIX na França, particularmente nas qualidades místicas e enigmáticas que caracterizam suas pinturas de temas bíblicos e mitológicos.

Gustave Moreau (1826-1898) stands apart from his Realist and Impressionist contemporaries in nineteenth-century France, particularly in the mystical and enigmatic qualities that characterize his paintings of biblical and mythological subjects. 

Gustave Moreau (French, 1826-1898), Nude Female Model for Salome (Study for Salome Dancing before Herod), ca. 1876. black chalk, 37.4 x 22.1 cm. Musée Gustave Moreau, Paris. Photo: Tony Querrec © Reunion des Musées Nationaux / Art Resource, NY.

Pintada entre 1874 e 1876, Dança de Salomé diante de Herodes fez sensação quando foi exibida pela primeira vez em Paris, no Salão de 1876, e é sem dúvida a obra mais importante de Moreau.

Painted between 1874 and 1876, Salome Dancing before Herod created a sensation when it was exhibited for the first time in Paris at the Salon of 1876, and is arguably Moreau’s most important work.

Gustav Moreau (French, 1826-1898), Herod (Study for Salome Dancing Before Herod), ca. 1876. Graphite, squared for transfer: 18.9 x 13 cm. Musée Gustave Moreau, Paris. Photo: Rene-Gabriel Ojeda © Reunion des Musées Nationaux / Art Resource, NY.

A história da filha de Herodíades, cuja dança sedutora adiante de seu padrasto e tio, Herodes, persuadiu o rei envelhido a conceder-lhe a cabeça de João Batista, é derivado de duas passagens nos Evangelhos de Mateus e Lucas. Salomé dançando a mando de sua mãe Herodias, que queriam silenciar João Batista de ir contra seu casamento incestuoso de Herodes, o irmão de seu marido assassinado.

The story of the daughter of Herodias, whose seductive dance before her stepfather and uncle, Herod, persuaded the aging king to grant her the head of John the Baptist, is derived from two passages in the New Testament Gospels of Matthew and Luke. Salome danced at the behest of her mother Herodias, who wanted to silence John the Baptist from railing against her incestuous marriage to Herod, the brother of her murdered husband.