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Mathilde Moreau | |
|---|---|
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| Born | 2 March 1958 |
| Nationality (legal) | Ivorian |
| Education | Ecole des Beaux-Arts d’Abidjan |
| Known for | Painter, Director of l’Ecole Nationale des Beaux-Arts d’Abidjan |
She studied at Ecole Nationale des Beaux Arts in Abidjan where she obtained a DCSA (Advanced Diploma of Fine Arts) in 1986. [1]
In 1983–1994 she was a professor of Fine Arts at Harris School of Modern in Abidjan. Then worked as a professor of painting at Ecole Nationale des Beaux Arts in Abidjan between 1994 and 2006.
Between 2003 and 2005 she was a researcher at the Central Academy of Fine Arts in Beijing [2] on Chinese traditional painting.
Since 2006, she has been the Director of the Ecole Nationale des Beaux Arts in Abidjan. [1]
She was one of the precursors of the Vohou-Vohou movement born at L'Ecole des Beaux Arts of Abidjan in the 1970s. Vohou-Vohou is the refusal of using very expensive painting materials. Other precursors were: Yusuf Bath, Kra N'Guessan, Théodore Koudougnon, Mathilde Moreau.
Gustave Moreau was a French artist and an important figure in the Symbolist movement. Jean Cassou called him "the Symbolist painter par excellence". He was an influential forerunner of symbolism in the visual arts in the 1860s, and at the height of the symbolist movement in the 1890s, he was among the most significant painters. Art historian Robert Delevoy wrote that Moreau "brought symbolist polyvalence to its highest point in Jupiter and Semele." He was a prolific artist who produced over 15,000 paintings, watercolors, and drawings. Moreau painted allegories and traditional biblical and mythological subjects favored by the fine art academies. J. K. Huysmans wrote, "Gustave Moreau has given new freshness to dreary old subjects by a talent both subtle and ample: he has taken myths worn out by the repetitions of centuries and expressed them in a language that is persuasive and lofty, mysterious and new." The female characters from the Bible and mythology that he so frequently depicted came to be regarded by many as the archetypical symbolist woman. His art fell from favor and received little attention in the early 20th century but, beginning in the 1960s and 70s, he has come to be considered among the most paramount of symbolist painters.
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