Copyright This work is in the public domain. Aimé Morot died in 1913; copyright lasts 70 years after the artist’s death, so it ended in 1983.
In context
Medea — Aimé Morot
The original measures 232 × 160 cm (height × width), drawn here beside an adult of average height. It is too large to draw to scale on this page.
Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 63 at death.
Painted when the artist was 26. The artist lived to 63. 1 of the 9 dated works by this artist in our catalogue came earlier.
Shaded: the lifetime of Aimé Morot (1850–1913) ▲ this work, 1876 every dated painting, decade by decade
First works: up to 1878 Main working years: 1878–1886 Late works: from 1886
Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them
Pick one work above: name two things it shares with this one, and one thing that's different.
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Measured from the image
Main colour
Phthalo Green #2c221f
Catalogued palette
These colours inside the artist’s whole palette Find other paintings by colour
Artist and museum
Born in Nancy, France
Born in Nancy, France, Aimé Morot was a painter and sculptor who began his artistic journey at the age of twelve. His early studies in drawing, painting, and gravure printing took place at the l'Ecole Municipal de Dessin et de Peinture de Nancy. He later attended the workshop of Alexandre Cabanel at the École Nationale Supérieure des Beaux-Arts in Paris. Despite leaving the formal academy after receiving two corrections from Cabanel, Morot pursued independent study in the Jardin des Plantes, where he focused on observing and portraying animals. In 1873, he won the Grand Prix de Rome with his work Babylonian Captivity (Super Flumina Babylonis), which is held in the collection of the École des Beaux-Arts in Paris. This achievement allowed him to reside at the Villa Medici in Rome.
Morot’s diverse body of work includes:
In addition to his studio work, Morot was a professor at the École Nationale Supérieure des Beaux-Arts and a member of the Institute. He was awarded the title of Chevalier in the Legion of Honour in 1883, later becoming an Officier in 1901, and eventually a Commandeur in the Légion d'Honneur in 1912.
On show in Bar-le-Duc, France
The Musée Barrois occupies the remains of the former castle of the Dukes of Bar and Lorraine, situated within the historic Ville haute district of Bar-le-Duc, France. This structure, a listed Monument Historique, holds a presence that reflects its origins as a seat of power. The architecture itself carries the weight of the past, with the museum integrated into the castle's stones since 1974. It functions as an encyclopedic repository, gathering diverse forms of human production from the Middle Ages through to the 20th century.
The atmosphere within the walls is one of quiet accumulation. The collection spans a vast chronological range, moving from the ancient artifacts of Nasium to the ethnographic curiosities of distant lands. It is a place where the local history of the Meuse region meets the broader movements of global art and natural history.
The holdings within the museum are varied, reflecting an ambition to capture the breadth of human creativity and the natural world. The paintings and sculptures are distributed across thirteen rooms, each holding a specific fragment of history. The following items represent the presence of the museum's catalog:
Portrait of a Man, 1550 - Jacopo Tintoretto
Saint Jerome, 1650 - Jacques Blanchard
Full-Length Portrait of Marshal Gérard, 1833 - Charles-Philippe Larivière
Daughter of Louis XV as Diana (Princess Louise Elisabeth), 1710 - Jean-Marc Nattier
Medea, 1876 - Aimé Morot
Ruins from the Ancient Baths in Nîmes - Charles Louis Clerisseau
View of a Village Church, 1650 - Mathys Schoevaerdts
Beyond the canvas, the museum preserves the material culture of many societies. This includes a 12th-century Taíno zemi, a wooden sculpture that remains a significant relic of the Caribbean peoples. The ethnographic section brings together objects from Africa, Oceania, the Far East, and the Maghreb, offering a glimpse into the rites and daily lives of non-Western cultures. Alongside these are weapons, armor, and Islettes earthenware, which ground the collection in the specificities of local craftsmanship and warfare.
The museum's identity is tied to the physical objects it protects, from the delicate Islettes ceramics to the heavy presence of archaeological finds from the ancient Nasium. It is a space where the natural history specimens sit in dialogue with the works of sculptors like Ligier Richier and Jean Robert dit Ipoustéguy. Even in its current state of closure for renovations, the building remains a central part of the Bar-le-Duc landscape, holding its treasures within the historic fabric of the castle.
Study it on your own wall: Medea by Aimé Morot as a hand-painted oil reproduction, made to your size
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Look closely
Medea — Aimé Morot
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"Medea" by Aimé Morot is proportioned as a portrait work of 232.0 x 160.0cm.
The format of "Medea" is portrait. This is useful when planning where a reproduction will be placed.
"Medea" was created by Aimé Morot. The information on this page describes Aimé Morot's original work.