Gustave Moreau’s students include some notable names, particularly Henri Matisse, Albert Marquet, and Georges Rouault, while Henri Evenepoel, Pierre Amédée Marcel-Béronneau, Georges Désvallières, and Edgar Maxence embraced the symbolism of the 1890s and early 1900s. Moreau’s influence, however, extended beyond his own splendid studio (now the Musée Gustave Moreau, at 14 Rue de la Rochefoucauld in the 9th arrondissement) to a much wider circle. Odilon Redon, who had studied with Jean Léon, was an admireras was the Belgian symbolist, Jean Delville while André Breton, who had visited the Musée Gustave Moreau as a sixteen year old, was overwhelmed by his portrayals of Salomé, Delilah, Sémélé and the Chimera, perceiving Moreau as the precursor of surrealism. Marcel-Béronneau may be considered Moreau’s closest disciple, but he was also influenced by the more powerful eroticism of Franz von Stuck. The paintings illustrated below mark his progression from reinterpreter of Moreau in the 1890s when, at his master’s urging, he submitted works to the 1897 Salon de la Rose+Croix, to his response to von Stuck from the second half of the first decade of the next century into the 1920s.