Théodore Chassériau

Portrait of the Artist in a Redingote, 1835, oil on canvas, 99 x 82 cm, Paris, Louvre. A self-portrait of Chassériau painted at the age of 16.

Théodore Chassériau (September 20, 1819 – October 8, 1856) was a Dominican/French Romantic painter noted for his portraits, historical and religious paintings, allegorical murals, and Orientalist images inspired by his travels to Algeria.

Life and work

The Toilette of Esther, 1841, oil on canvas, 45.5 x 35.5 cm, Paris, Louvre

Chassériau was born in El Limón, Samaná, in the Spanish colony of Santo Domingo (now the Dominican Republic).[1] His father Benoît Chassériau was a French adventurer who had arrived in Santo Domingo in 1802 to take an administrative position in what was until 1808 a French colony.[2] Theodore's mother, Maria Magdalena Couret de la Blagniére, was the daughter of a mulatto landowner born in Saint-Domingue (now Haiti). In December 1820 the family left Santo Domingo for Paris, where the young Chassériau soon showed precocious drawing skill. He was accepted into the studio of Jean-Auguste-Dominique Ingres in 1830, at the age of eleven, and became the favorite pupil of the great classicist, who regarded him as his truest disciple.[3] (An account that may be apocryphal has Ingres declaring "Come, gentlemen, come see, this child will be the Napoleon of painting.")[4]

After Ingres left Paris in 1834 to become director of the French Academy in Rome, Chassériau fell under the influence of Eugène Delacroix, whose brand of painterly colorism was anathema to Ingres. Chassériau's art has often been characterized as an attempt to reconcile the classicism of Ingres with the romanticism of Delacroix.[5] He first exhibited at the Paris Salon in 1836, and was awarded a third-place medal in the category of history painting.[6] In 1840 Chassériau travelled to Rome and met with Ingres, whose bitterness at the direction his student's work was taking led to a decisive break.

Théodore Chassériau - Vénus marine dite Vénus Anadyomène, 1838, musée du Louvre - Paris
Théodore Chassériau - Andromède attachée au rocher par les Néréides, 1840, musée du Louvre - Paris
Théodore Chassériau - Macbeth and Banquo Meeting the Witches on the Heath, 1855. An example of one of Chassériau's many works inspired by Shakespeare
Théodore Chassériau - The Artist's Sisters - 1843
Théodore Chassériau - Portrait of Reverend Father Henri-Dominique Lacordaire - 1840
Théodore Chassériau - Portrait d'Alexis de Tocqueville - 1855
Théodore Chassériau - Orientalist Interior - Nude in a Harem - 1854
Théodore Chassériau - Portrait d'Alphonse de Lamartine - 1844

Among the chief works of his early maturity are Susanna and the Elders and Venus Anadyomene (both 1839), Diana Surprised by Actaeon (1840), Andromeda Chained to the Rock by the Nereids (1840), and The Toilette of Esther (1841), all of which reveal a very personal ideal in depicting the female nude.[7] Chassériau's major religious paintings from these years, Christ on the Mount of Olives (a subject he treated in 1840 and again in 1844) and The Descent from the Cross (1842), received mixed reviews from the critics; among the artist's champions was Théophile Gautier. Chassériau also carried out a commission for murals depicting the life of Saint Mary of Egypt in the Church of Saint-Merri in Paris; these were completed in 1843.

Portraits from this period include the Portrait of the Reverend Father Dominique Lacordaire, of the Order of the Predicant Friars (1840), and The Two Sisters (1843), which depicts Chassériau's sisters Adèle and Aline.

Throughout his life he was a prolific draftsman; his many portrait drawings executed with a finely pointed graphite pencil are close in style to those of Ingres. He also created a body of 29 prints, including a group of eighteen etchings of subjects from Shakespeare's Othello in 1844.[8]

Portrait of Mme Borg de Balsan, 1847, pencil on paper, 33.3 x 27 cm, Philadelphia Museum of Art

In 1846, shortly after painting the colossal Ali-Ben-Hamet, Caliph of Constantine and Chief of the Haractas, Followed by his Escort, Chassériau made his first trip to Algeria. From sketches made on this and subsequent trips he painted such subjects as Arab Chiefs Visiting Their Vassals and Jewish Women on a Balcony (both 1849, now in the Louvre). A major late work, The Tepidarium (1853, in the Musée d'Orsay), depicts a large group of women drying themselves after bathing, in an architectural setting inspired by the artist's trip in 1840 to Pompeii. His most monumental work was his decoration of the grand staircase of the Cour des Comptes, commissioned by the state in 1844 and completed in 1848. This work was heavily damaged in May 1871 by a fire set during the Commune, and only fragments could be recovered; these are preserved in the Louvre.

After a period of ill health, exacerbated by his exhausting work on commissions for murals to decorate the Churches of Saint-Roch and Saint-Philippe-du-Roule, Chassériau died at the age of 37 in Paris, on October 8, 1856.

His work had a significant impact on the style of Puvis de Chavannes and Gustave Moreau, and—through those artists' influence—reverberations in the work of Paul Gauguin and Henri Matisse.[9] There is in Paris a Society for the painter: Association des Amis de Théodore Chassériau.

Works of Chassériau are today visible in the Musée du Louvre where a room is dedicated to him, in the Musée d'Orsay or in the Musée de Versailles. Collections in the United States holding works by Théodore Chassériau include the Metropolitan Museum of Art, New York, the Fogg Art Museum of Harvard University, the National Gallery of Art of Washington, D.C., the Detroit Institute of Arts, the Museum of the Art Rhode Island School of Design, The J. Paul Getty Museum and the Art Institute of Chicago.

Selected works

Exhibitions

References

Further reading

Wikimedia Commons has media related to Théodore Chassériau.

Notes

  1. ↑ Guégan et al. 2002, p. 163.
  2. ↑ Guégan et al. 2002, pp. 58, 163.
  3. ↑ Guégan et al. 2002, p. 168.
  4. ↑ Guégan et al. 2002, pp. 60, 168.
  5. ↑ Rosenblum 1989, p. 32.
  6. ↑ Guégan et al. 2002, p. 170.
  7. ↑ Guégan et al. 2002, p. 53.
  8. ↑ Fisher 1979, p. 13.
  9. ↑ Guégan et al. 2002, p. 287.
This article is issued from Wikipedia - version of the 10/10/2016. The text is available under the Creative Commons Attribution/Share Alike but additional terms may apply for the media files.