Jacqueline Morreau's paintings are concerned with myth, humour and history. they are multi-layered allegories located in a tradition of high seriousness manifest in Western history and mythological painting... she takes as her major vehicle of expression the human figure, particularly the active female, the woman as protagonist. The scale and format of her works signal authority. She adopts traditional forms to question the authority and meaning of tradition. Her paintings are effective because they acknowledge the cultural traditions as dynamic and formative forces which are rich in possibilities precisely because they are ambiguous... The themes and values are at once overt and ambiguous. The morally equivocal nature of the Greek myths which she so often utilizes is an essential element in her strategy. It opens up the space for a previously disinherited voice.
Keith Wheldon, Myth and Metaphor, catalogue essay, London 1988
Jacqueline Morreau's large figurative paintings and drawings use myth and metaphor to touch on and clarify values in contemporary life, seen and felt from her experiences as a woman.... Morreau explores subtle aspects of male-female relationships, merging the concept of difference through androgynous forms whose sexual characteristics are less important than their shared feelings. What is revealed is the vulnerability of men and women, expressed by the pallor of naked and semi-naked bodies... Love and sex are major underlying themes, referred to not only in romantic terms but with a powerful sense of emotional as well as physical involvement, informed by the reality of experience.
Emmanuel Cooper, Myth and Metaphor, review in Time Out, March 1989
Myth and metaphor take on new meaning in recent work by the American artist Jacqueline Morreau... Art becomes a vehicle with which to contemplate society's values and the importance of historical precedent. Ancient myths, displaced and frequently incongruous in 20th-century contexts, exude multi-layered allegory...
Dalya Alberge, Myth and Metaphor, review in The Independent, February 1989