Every time I have visited Paris (all 3 times in my entire life) I have visited this small museum, a favourite of the French Surrealists, the home and studio of Gustave Moreau. Visiting the museum is a great experience and an education for any painter. The Surrealists were the first to recommend the museum but their advice wasn’t popular. When I first visited in the winter of 1984, there were prostitutes working the street and I was the only visitor at the museum. But now the area is more sedate and the museum is even crowded with groups of art students.
Moreau’s symbolist paintings may be less out of fashion now but his fantastic visions of Biblical and classical scenes are still strange. His paintings are bejewelled, ornate, detailed and full of strange symbolist psychological overtones. For this reason his paintings are sometimes included in books of fantastic art but Moreau is a conventional late 19th century painter, a professor at the Paris’ École des Beaux Arts, who lived a comfortable bourgeois life.
In his formal parlour, located underneath the two floors of studio. There is his own art collection, works by Tournour, Burne-Jones, Berchere, along with a portrait of Moreau by Degas. There is also his collection of butterflies, tiger cowrie shells, stuffed birds, a few books, medals and his personal effects. The clutter and extravagance of late 19th Century taste. You can even use his neo-classical toilet with pull-chain to flush; the original ceramic bowl and hand basin are still functional. It is a unique toilet experience.
The studio is hung salon style full of finished and unfinished paintings. It shows every stage of the development of his paintings. You can follow the development of paintings from plaster casts and preparatory drawings, through the rough studies, clay or wax models to sketch figures from, half finished and on to the finished full sized paintings of the same composition. I am particularly interested in his underpaintings that are often wildly different in technique from the carefully finished work.
To visit the studio is an education in 19th century painting techniques. His importance as a teacher continues after his death in this museum; during his lifetime he taught at the École des Beaux-Arts.
In many it is clear that Moreau starts his paintings on canvas onto which he draw the outline in charcoal or pencil. He then adds the basic colours of the underpainting in a bold manner, although light areas remain untouched to allow the white gesso to reflect light back through the semi-transparent oils. After this he adds his black line drawing, or a white line if the background is very dark, fills in colours and glazes, working from the background to the foreground. However his technique varies between detailed classical colouring in of ink underpainting to loose impressionist brush and palette knife work. In these variety of techniques there are the beginnings of all kinds of modern figurative techniques. It is worth considering that his most famous students were Henri Matisse and Georges Rouault.
There is so much to see in this small museum that it would take days to see all the drawings, to take in the meaning of huge clutter of objects, to absorb the painting techniques. It is part of rare type of art gallery that is the work of one person: in London the equivalent is the Sir John Soane’s Museum (amazing architectural ideas), in Milan the Fondazione Artistica Poldi-Pezzoli (with collections of art, lace, watches and more) and in Dijon the Musée Magnin (home of a family of art collectors). These former residences show art in a more intimate manner, surrounded by period furniture and other collections. They show a particular tastes and interests and not the work of curatorial committees. They may not contain the most famous works of art in Europe but they are amongst my favourite museums.