Top 9 Gustave Moreau Quotes

This bored fantastic woman, with her animal nature, giving herself the pleasure of seeing her enemy struck down, not a particularly keen one for her because she is so weary of having all her desires satisfied… When I want to render these fine nuances, I do not find them in the subject, but in the nature of women in real life who seek unhealthy emotions and are too stupid even to understand the horror in the most appalling situations.

Think your color. Know how to imagine it.

"J'aime mieux Un Fra Angelico qu'un torche-cul de Degas!" (cité par Charles Camoin).

This bored fantastic woman, with her animal nature, giving herself the pleasure of seeing her enemy struck down, not a particularly keen one for her because she is so weary of having all her desires satisfied. This woman, walking nonchalantly in a vegetal, bestial manner, through the gardens that have just been stained by a horrible murder, which has frightened the executioner himself and made him flee distracted.... When I want to render these fine nuances, I do not find them in the subject, but in the nature of women in real life who seek unhealthy emotions and are too stupid even to understand the horror in the most appalling situations.

No one could have less faith in the absolute and definitive importance of the work created by man, because I believe that this world is nothing but a dream...

I have designed a decorative and monumental work as a group of subjects representing the three ages of sacred and profane mythology: the Golden Age, the Silver Age and the Iron Age. I have symbolised these different ages by dividing each one into compositions representing the three phases of the day: morning, noon and evening.

I am dominated by one thing, an irresistible, burning attraction towards the abstract. The expression of human feelings and the passions of man certainly interest me deeply, but I am less concerned with expressing the motions of the soul and mind than to render visible, so to speak, the inner flashes of intuition which have something divine in their apparent insignificance and reveal magic, even divine horizons, when they are transposed into the marvellous effects of pure plastic art.

I have never looked for dream in reality or reality in dream. I have allowed my imagination free play, and I have not been led astray by it.

I believe neither in what I touch nor what I see. I only believe in what I do not see, and solely in what I feel.