Hercules and the Lernaean Hydra
| Support Type: | Canvas |
| Paint Type: | Oil Paint |
| Current Location: | Art Institute of Chicago |
| Location History: | Paris, Salon, 1876, cat. 1505. Paris, Exposition Universelle Internationale, 1878, Groupe I, Classe I, cat. 656. Paris, Galerie Georges Petit, Gustave Moreau, 1906, cat. 75. Lawrence University of Kansas, Profiles and Perspectives in 19th Century French Art, January 14-February 26, 1958, cat. 18. New York, The Museum of Modern Art, Odilon Redon-Gustave Moreau-Rodolphe Bresdin, December 4, 1961-February 4, 1962, cat. 178 (ill.), travelled to The Art Institute of Chicago, March 2-April 15, 1962. The Minneapolis Institute of Arts, The Past Rediscovered: French 19th Century Painting, July 1-September 1969, cat. 62. Los Angeles County Museum of Art, Gustave Moreau, July 23-September 1, 1974, cat. 50 (ill.), Travelled to San Francisco, Palace of the Legion of Honour, September 14-November 11, 1974. Kunsthaus Zürich, Gustave Moreau Symboliste, March 14-May 25, 1986, cat. 45 (ill.). Florence,Palazzo Vecchio, Gustave Moreau, 1826-1898, 1989, cat. 22 (ill.), traveled to Ferrara, Galleria civica d’Arte moderna, Palazzo dei Diamanti, 1989. Heerlen, Stadsfalerij, Gustave Moreau, 1991, no cat. no. Mexico City, Centro Cultural/Arte Contemporáneo, Gustave Moreau sur legado, 1994-95, no cat. no. Tokyo, National Museum of Western Art, Gustave Moreau, March 21-May 14, 1995, cat. 23 (ill.), travelled to Kyoto, National Museum of Modern Art, May 23-July 9. Rome, Accademia di Francia a Roma, Villa Medici, Gustave Moreau e l’Italia, 1996, no cat. no. Paris, Galeries nationales du Grand Palais, Gustave Moreau, 1998-1999, cat. 58 (ill.), travelled to The Art Institute of Chicago, October-April 1999 and New York, The Metropolitan Museum of Art, June 1999-September 1999. |
Gustave Moreau’s Painting Hercules and the Lernaean Hydra Essay (Critical Writing) Gustave Moreau’s painting Hercules and the Lernaean Hydra depicts a fierce struggle between virtue and corruption. Surrounded by a dark sky, Hercules stands alone, wearing Apollo’s victory laurels and the skin of the Nemean lion, and looks at the massive hydra, which is right in front of him. The hero seems to be on a journey of penance, facing the monster that has already claimed many lives and left the remnants of previous battles around the scene. The contrast between Hercules, who represents virtue and nobility, and the monster, which symbolises corruption, is enhanced by the use of light and shadow. From a historical perspective, the painting can be seen as a metaphor for the Franco-Prussian War, with France depicted as Hercules and Prussia as the monstrous hydra, capable only of destruction and bringing darkness to the world.