museums and institutions:
Attributed works:
44. Jacob and the angel, by Gustave Moreau. 1874-78. 255.4 by 148.7 cm. (Grenville L. Winthrop Bequest, Fogg Art Museum, Cambridge MA).
Attributed works:
45. The infant Moses, by Gustave Moreau. c.1876-78. 185 by 136.2 cm. (Grenville L. Winthrop Bequest, Fogg Art Museum, Cambridge, MA).
Attributed works:
46. David, by Gustave Moreau. 1878. 229.5 by 138 cm. (Armand Hammer Museum of Art and Cultural Center, Los Angeles).
Attributed works:
47. Moses in sight of the promised land, removing his sandals, by Gustave Moreau. 1854. 245 by 151 cm. (Musée Gustave Moreau, Paris).
Attributed works:
48. Detail of the original fold-over edges and filled tack-holes as seen at the front of Fig.44.
Attributed works:
49. Top: Moreau's final signature, in red, at the lower-left corner of Fig.44; bottom: the earlier, larger signature, also in red, hidden beneath layers of green and brown paint at lower right.
Attributed works:
50. Detail of stamp and signature on the upper-right corner of verso of Fig.44.
Attributed works:
51. Cross-section taken from the shadow between the angel's right arm and torso in Fig.44. The lower red and blue layers show typical wet-in-wet mixing. The thick layer of varnish and was applied before the paint was dry causing pigments to mix into the varnish and a thin skin of paint to lift. The varnish has in effect become a glaze. Photographed at 100x magnification in normal and in UV light.
Attributed works:
52. Cross-section taken from the background on the left-hand edge of Fig.44. The red and brown paint has been thickly built up in a wet-in-wet technique. The brightly fluorescing yellow pigment particles are Indian yellow. The large whitish (in normal light) and dull bluish (in UV light) amorphous shapes on the surface at either side (indicated by arrows) of the cross-section are the most visible parts of a beeswax coating over which a scumble of brown has been applied followed by a varnish. Photographed at 100x magnification in normal and in UV light.
Attributed works:
53. Cross-section taken from the angel's raised wrist in Fig.44. The lower red, yellow and brown layers belong to the halo, over which a working varnish was applied. It appears that the first, higher position of the hand was then painted in and a varnish applied. The smooth surface of this varnish implied that at the time of application it was considered a final saturating layer. A second, thicker flesh-coloured paint was later applied - the repositioned hand of the second version, and three varnish coatings were then applied. The flesh-coloured scumbles over the varnish could be either original or a later retouching by someone other than Moreau. Photographed at 100x magnification in normal and in UV light.
Attributed works:
54. X-radiograph of Fig.44 with stretcher bars digitally minimised. (Image scanning and manipulation by Adam Kellie).
Attributed works:
55. Study for 'Jacob and the angel', by Gustave Moreau. c.1876-78. 215 by 177 cm. (Musée Gustave Moreau, Paris).
Attributed works:
56. Left: detail of angel's head from Fig.44; right: X-radiograph detail from Fig.54 showing the angel looking down with left arm raised higher.
Attributed works:
57. Left: detail of Jacob's right leg from Fig.44; right: X-radiograph detail from Fig.54 showing changed position of Jacob's foot and length of leg.
Attributed works:
58. Left: detail of Jacob's left leg in Fig.44; right: infra-red digital photograph of the same detail showing a different position for the leg.
