ORIGIN : Français

STYLE : Symboliste

À SAVOIR : Elève de Gustave Moreau

He attended the Fine-Arts School in Bordeaux and the Decorative Arts School in Paris before going to the Fine-Arts National School in 1892 where he entered Gustave Moreau’s study and met Georges Rouault with whom he later shared a study on Montparnasse Boulevard. He quickly became on the best students and his master even wrote to the mayor of Bordeaux to get him a subvention: “Mr Béronneau, my student, is a wonderful worker, very gifted and worthy of your interest.”

He was awarded the 1st Great Prize of the Decorative Arts in 1893, a medal in a sketching contest and the 1st Prize of the Study in 1894 for all his work. The same year he came first at the Chevanard contest held by the Fine-Arts National School. In 1895 he started showing his work at the French Artists Salon.

His work was composed of a double production. The first one was academic and met the audience’s expectations, which made him successful. The critic Arsène Alexandre wrote about him in the paper “Le Figaro” that he was a “great refined artist”, a “delicate, serious and often deep painter who [mixed] a great integrity with the yearning for the highest thoughts”. The government started making some requests such as “Last Hour” (Fine-Arts Museum in Bordeaux) in 1899. He became Knight of the Legion of Honor in 1914.

The second part of his work is symbolist. Influenced by Moreau and connected to the Rose-Croix Salon, interested in the Préraphaélite movement, he created his own style by essentially illustrating mythical and biblical female characters such as Leda, Sappho, Judith, Gorgon and Salomé. He featured them in phantasmagorical sceneries and reinterpreted myths with a symbolist sensitivity.


Louvres, Paris

Fine-Arts Museum, Bordeaux

Fine-Arts Museum, Marseille

Oise Regional Museum, Beauvais


  1. Robert Delevoy,”Journal du symbolisme”, Geneva, Editions d’Art Albert Skira, 1977

Françoise Grauby,”La création mythique à l’époque du symbolisme. Histoire, analyse et interprétation des mythes fondamentaux du symbolism”, Paris, Nizet bookshop, 1994

Alain Blondel Gallery,”Marcel-Beronneau, 1869-1937, peintre symbolist”, cat. exp. , Paris, 1981

Gabrielle Neau (ss dir. Pr D. Jarrasse),”P.A. Marcel-Beronneau (1869-1937), peintre symboliste, paysagiste et décorateur”, University of Michel de Montaigne Bordeaux III, September 2001

Exhibition catalogs

“Gustave Moreau et ses élèves, 26 juin-1er septembre 1962”, Marseille, Cantini museum

“Importants tableaux modernes et sculptures, dont un ensemble de 30 peintures par Marcel-Beronneau”, Paris, Drouot-Montaigne, Les Million et Jutheau, 1989

Anne Pingeot and Robert Hooze, “Paris-Bruxelles, Bruxelles-Paris, Réalisme, impressionnisme, symbolisme, art nouveau, Les relations artistiques entre la France et la Belgique”, 1848-1914, Paris, Edition RMN, 1997


“Salomés oubliées”, “Connaissance des Arts”, Paris, July 1981, p. 20

Maurice Cottaz, “Les héroïnes des Marcel-Beronneau, la révélation d’un symboliste, peintre des séductrices”, “Valeurs Actuelles”, Les Arts, 10/16, VIII, 10th of August 1981

Robert Fohr, “Salomé”, “L’objet d’Art”, July-August 1988

“Trente peintures de Marcel Beronneau”, “La Gazette”, n°42, 1st of December 1989

France Huser, “La coupeuse de tête, la personne de Salomé”, “Le Nouvel Observateur”, Arts-Spectacles



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    Projet Décoratif, circa 1910

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    Orphée à la Lyre, circa 1895

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