{"id":2935,"date":"2021-05-14T11:57:03","date_gmt":"2021-05-14T09:57:03","guid":{"rendered":"https:\/\/drawings-online.com\/?p=2935"},"modified":"2023-01-09T19:29:22","modified_gmt":"2023-01-09T18:29:22","slug":"douceur-et-poesie-dans-cette-charmante-etude-damour-maternel-par-theodore-chasseriau","status":"publish","type":"post","link":"https:\/\/drawings-online.com\/en\/sweetness-and-poetry-in-this-charming-study-of-maternal-love-by-theodore-chasseriau\/","title":{"rendered":"Sweetness and poetry in this charming study of maternal love by Th\u00e9odore Chass\u00e9riau"},"content":{"rendered":"<hr class=\"wp-block-separator is-style-dots\" \/>\r\n\r\n\r\n<blockquote class=\"wp-block-quote has-text-align-center is-style-default is-layout-flow wp-block-quote-is-layout-flow\">\r\n<p><strong><em>\u00ab<\/em><\/strong> <strong><em>Chass\u00e9riau&#8217;s graphic works seem to us today the expression of a personality as skilled as original, multifaceted as well as fruitful. What is striking in them above all, is the very particular poetry that emanates from the least of his figures, accentuated by the elegance of the line \u00bb<\/em><\/strong><a href=\"#_ftn1\">[1]<\/a>.<\/p>\r\n<cite>These words, penned by Louis-Antoine Prat, illustrate perfectly the impressions felt in front of this drawing, which for a time, belonged in his collection. <\/cite><\/blockquote>\r\n\r\n\r\n\r\n<div class=\"wp-block-block-image-comparison eb-image-comparison-wrapper\" data-id=\"eb-ic-4b041\" data-overlay=\"true\" data-hover=\"false\" data-position=\"0.6011904761904762\" data-before-label=\"Recto\" data-after-label=\"Verso\" data-line-width=\"3\" data-line-color=\"#ffffff\" data-arrow-color=\"#ffffff\"><img decoding=\"async\" class=\"eb-image-comparison-image eb-image-comparison-left\" src=\"https:\/\/drawings-online.com\/wp-content\/uploads\/2021\/05\/DSC_3726_focus3.png\" alt=\"Left Image\" \/><img decoding=\"async\" class=\"eb-image-comparison-image eb-image-comparison-right\" src=\"https:\/\/drawings-online.com\/wp-content\/uploads\/2021\/05\/DSC_3726_focus_verso5.png\" alt=\"Right Image\" \/><\/div>\r\n\r\n\r\n\r\n<div class=\"wp-block-spacer\" style=\"height: 35px;\" aria-hidden=\"true\">\u00a0<\/div>\r\n\r\n\r\n\r\n<div class=\"wp-block-spacer\" style=\"height: 35px;\" aria-hidden=\"true\">\u00a0<\/div>\r\n\r\n\r\n\r\n<p><strong>Th\u00e9odore Chass\u00e9riau<\/strong><\/p>\r\n\r\n\r\n\r\n<p>Santa Barbara de Samana, 1819 &#8211; Paris, 1856<\/p>\r\n\r\n\r\n\r\n<p><strong><em>Child Holding out a Flower to his Mother<\/em><\/strong><\/p>\r\n\r\n\r\n\r\n<p>Inscribed on recto lower left <em>Th. Chass\u00e9riau 1839<\/em><strong>.<\/strong><\/p>\r\n\r\n\r\n\r\n<p>Lead pencil heightened with white gouache on blue paper.<\/p>\r\n\r\n\r\n\r\n<p>210 x 113 mm &#8211; 8 1\/4 x 4 1\/2 in.<\/p>\r\n\r\n\r\n\r\n<p>Provenance &#8211; Pierre B\u00e9r\u00e8s, Paris, 1976 ; Paul Prout\u00e9 S.A., Paris, 1977 ; Louis-Antoine and V\u00e9ronique Prat, Paris, inventory n\u00b0 1729, from 1977, their collector\u2019s mark (<a href=\"http:\/\/www.marquesdecollections.fr\/detail.cfm\/marque\/11125\/total\/1\" target=\"_blank\" rel=\"noopener\">Lugt 3617<\/a>) recto lower right ; Galerie de Bayser, Paris, 2017 ; Private collection.<\/p>\r\n\r\n\r\n\r\n<p><strong>\u00a0<\/strong>Exhibitions &#8211; <em>De main de Ma\u00eetre. Masterful Studies. Three Centuries of French Drawings from the Prat Collection<\/em>,cat. by Pierre Rosenberg, National Academy of Design, New York, 1990-1991, Kimbell Art Museum, Fort Worth, 1991, National Museum of Canada, Ottawa, 1991, p. 200-201, n \u00b0 83 ; <em>Dessins fran\u00e7ais de la collection Prat. XVII<sup>th<\/sup>, XVIII<sup>th<\/sup>, XIX<sup>th<\/sup><\/em>cat. by Pierre Rosenberg: The Louvre, Paris, 1995, Scottish National Gallery, Edinburgh, 1995, Ashmolean Museum, Oxford, 1995, p. 176-177, n \u00b0 71.<\/p>\r\n\r\n\r\n\r\n<p>Literature &#8211; Louis-Antoine Prat, <em>Drawings by Th\u00e9odore Chass\u00e9riau (1819-1856)<\/em>The Louvre, Department of Drawings, General Inventory of drawings, Paris 1980, cited under n \u00b0 1729 ; Louis-Antoine Prat, <em>Th\u00e9odore Chass\u00e9riau (1819-1856), Dessins conserv\u00e9s en dehors du Louvre<\/em>, Cahiers du dessin fran\u00e7ais, n\u00b0 5, Paris, 1988, n\u00b0 39.<\/p>\r\n\r\n\r\n\r\n<div class=\"wp-block-spacer\" style=\"height: 29px;\" aria-hidden=\"true\">\u00a0<\/div>\r\n\r\n\r\n<hr class=\"wp-block-separator is-style-dots\" \/>\r\n\r\n\r\n<p class=\"has-drop-cap\">The artist Th\u00e9odore Chass\u00e9riau, recognised as one of the great exponents of the Romantic era, died young from tuberculosis at the age of 37. Son of a French diplomat whose consular activities had taken him to the Caribbean, the young Th\u00e9odore, born of a Creole mother, lived on the island of Saint-Domingue for only a short time, travelling to Paris at the age of three. Chass\u00e9riau demonstrated a taste for drawing when very young and in 1830, aged eleven, he entered Ingres\u2019 studio in the \u00c9cole des Beaux- Arts de Paris. When Ingres left for Rome in 1835, appointed director of The French Academy, Chass\u00e9riau, still too young, continued his apprenticeship in Paris. He began presenting works at the Salon in 1836 and met with great success in 1839 for his <em>Suzanne au bain <\/em>and <em>V\u00e9nus Anadyom\u00e8ne <\/em>(The Louvre, Paris, inv. RF 410 and RF 2262), which were particularly admired by critics. Chass\u00e9riau spent time in Rome between 1840 and 1841 in the company of the painter Henri Lehman. Renowned for his numerous portraits, his decorations of Parisian churches (Saint-Merri, Saint-Roch and Saint-Philippe du Roule), his large decorative cycle for the <em>Cour des Comptes<\/em> (destroyed in 1871 during the Commune, surviving fragments are kept in The Louvre), Chass\u00e9riau embodies a very personal romanticism, built by virtue of the memory of line initiated by his master, Ingres, and an engagement with a shimmering palette prompted by a trip to Algeria that brings him closer to the colourful compositions of Delacroix.<\/p>\r\n\r\n\r\n\r\n<div class=\"wp-block-spacer\" style=\"height: 34px;\" aria-hidden=\"true\">\u00a0<\/div>\r\n\r\n<figure id=\"attachment_2948\" aria-describedby=\"caption-attachment-2948\" style=\"width: 210px\" class=\"wp-caption alignleft\"><a href=\"https:\/\/drawings-online.com\/wp-content\/uploads\/2021\/05\/Chasseriau-Figure-1.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-2948\" src=\"https:\/\/drawings-online.com\/wp-content\/uploads\/2021\/05\/Chasseriau-Figure-1-224x300.jpg\" alt=\"\" width=\"210\" height=\"282\" srcset=\"https:\/\/drawings-online.com\/wp-content\/uploads\/2021\/05\/Chasseriau-Figure-1-224x300.jpg 224w, https:\/\/drawings-online.com\/wp-content\/uploads\/2021\/05\/Chasseriau-Figure-1-766x1024.jpg 766w, https:\/\/drawings-online.com\/wp-content\/uploads\/2021\/05\/Chasseriau-Figure-1-768x1027.jpg 768w, https:\/\/drawings-online.com\/wp-content\/uploads\/2021\/05\/Chasseriau-Figure-1-300x401.jpg 300w, https:\/\/drawings-online.com\/wp-content\/uploads\/2021\/05\/Chasseriau-Figure-1-600x803.jpg 600w, https:\/\/drawings-online.com\/wp-content\/uploads\/2021\/05\/Chasseriau-Figure-1.jpg 957w\" sizes=\"auto, (max-width: 210px) 100vw, 210px\" \/><\/a><figcaption id=\"caption-attachment-2948\" class=\"wp-caption-text\">Fig.1<\/figcaption><\/figure>\r\n<p>Our drawing, signed and dated 1839, was made at the beginning of Chass\u00e9riau\u2019s visit to Italy and belongs to a creative period still marked by Ingres\u2019 teachings. Marc Sandoz has published around ten cartoon studies that depict women and children in landscapes that the artist gave, for the most part, to his descendants or friends<a href=\"#_ftn2\" name=\"_ftnref1\">[2]<\/a>. Dating mainly from the years 1839-1841, this series of \u2018small maternities\u2019 drawn from life or composed in the studio, is not linked to any specific project<a href=\"#_ftn3\" name=\"_ftnref2\">[3]<\/a>. We can compare our sheet more precisely with two studies executed on the same date that use a similar technique: <em>Two women in a landscape, one of whom is seated and carrying a child, <\/em>fig. 1, art market<a href=\"#_ftn4\" name=\"_ftnref3\">[4]<\/a>) and <em>A young mother and two children in a landscape<\/em>, fig. 2, private collection<a href=\"#_ftn5\" name=\"_ftnref4\">[5]<\/a>).<\/p>\r\n<p><a href=\"#_ftnref1\" name=\"_ftn1\"><\/a><\/p>\r\n<!-- \/wp:post-content -->\r\n<figure id=\"attachment_2949\" aria-describedby=\"caption-attachment-2949\" style=\"width: 300px\" class=\"wp-caption alignright\"><a href=\"https:\/\/drawings-online.com\/wp-content\/uploads\/2021\/05\/Chasseriau-Figure-2.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-2949 size-medium\" src=\"https:\/\/drawings-online.com\/wp-content\/uploads\/2021\/05\/Chasseriau-Figure-2-300x205.jpg\" alt=\"\" width=\"300\" height=\"205\" srcset=\"https:\/\/drawings-online.com\/wp-content\/uploads\/2021\/05\/Chasseriau-Figure-2-300x205.jpg 300w, https:\/\/drawings-online.com\/wp-content\/uploads\/2021\/05\/Chasseriau-Figure-2-600x410.jpg 600w, https:\/\/drawings-online.com\/wp-content\/uploads\/2021\/05\/Chasseriau-Figure-2.jpg 689w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/a><figcaption id=\"caption-attachment-2949\" class=\"wp-caption-text\">Fig.2<\/figcaption><\/figure>\r\n<p>Like his master, Chass\u00e9riau draws inspiration from Ancient Greek and Italian Renaissance models to create his monumental, sensual female figures. He also uses features from family and friends, including those of his sisters Ad\u00e8le and Aline, to sketch in his figures\u2019 faces. Thus the profile of the young woman in our study could be that of Ad\u00e8le, echoed in <a href=\"https:\/\/www.latribunedelart.com\/spip.php?page=docbig&amp;id_document=43437&amp;id_article=8580\" target=\"_blank\" rel=\"noopener\"><em>A double portrait of the artist&#8217;s elder sister<\/em><\/a> drawn from life between 1841 and 1843<a href=\"#_ftn6\" name=\"_ftnref1\">[6]<\/a>.<\/p>\r\n<!-- wp:spacer {\"height\":50} -->\r\n<div class=\"wp-block-spacer\" style=\"height: 50px;\" aria-hidden=\"true\">\u00a0<\/div>\r\n<!-- \/wp:spacer -->\r\n\r\n<!-- wp:paragraph -->\r\n<p>Is the subject pagan or religious? This deeply poetic image exudes a profound tenderness through the gesture of filial and maternal love: the eagerness of the child standing on tiptoe holding out a flower to his mother; the exchange of loving glances and the mother&#8217;s hand gently resting on the child&#8217;s head. Looking at such a display of affection, multiple readings are possible: at first glance we might see an evocation of spring with the scene unfolding in front of a field of flowering wheat \u2013 the child, through his gesture, bringing proof of the renewal of nature to his mother. Furthermore, we might read the detail of the immaculate white veil covering the young woman&#8217;s hair as an allusion to Mary with the flower proffered by the child \u2018Jesus\u2019, a lily \u2013 a symbol of purity.<\/p>\r\n<!-- \/wp:paragraph -->\r\n\r\n<!-- wp:spacer {\"height\":50} -->\r\n<div class=\"wp-block-spacer\" style=\"height: 50px;\" aria-hidden=\"true\">\u00a0<\/div>\r\n<!-- \/wp:spacer -->\r\n\r\n<!-- wp:paragraph -->\r\n<p>Either way, both of these themes highlight the rebirth and purity of Nature. If the Ingresque influence remains tangible in the precision of the line contouring the figures, the spring landscape prefigures the creations of Pierre Puvis de Chavannes, Gustave Moreau and Maurice Denis in its freedom and simplicity.<\/p>\r\n<!-- \/wp:paragraph -->\r\n\r\n<!-- wp:spacer {\"height\":50} -->\r\n<div class=\"wp-block-spacer\" style=\"height: 50px;\" aria-hidden=\"true\">\u00a0<\/div>\r\n<!-- \/wp:spacer -->\r\n\r\n<!-- wp:paragraph -->\r\n<p>Despite the years that separate us from its genesis, the perfectly conserved state of this drawing allows us to appreciate the work as its creator conceived it. The celestial blue of the paper has not altered and reveals the artist\u2019s work \u2013 using the tonality of the ground to catch the light by leaving certain areas of the paper untouched, then drawing in the characters\u2019 volumes in black pencil highlighted with white gouache.<\/p>\r\n<!-- \/wp:paragraph -->\r\n\r\n<!-- wp:separator {\"className\":\"is-style-dots\"} --><hr class=\"wp-block-separator is-style-dots\" \/><!-- \/wp:separator -->\r\n\r\n<!-- wp:spacer {\"height\":27} -->\r\n<div class=\"wp-block-spacer\" style=\"height: 27px;\" aria-hidden=\"true\">\u00a0<\/div>\r\n<!-- \/wp:spacer -->\r\n\r\n<!-- wp:paragraph -->\r\n<p><a href=\"#_ftnref1\" name=\"_ftn1\">[1]<\/a> Louis-Antoine Prat, <em>Th\u00e9odore Chass\u00e9riau (1819-1856), Dessins conserv\u00e9s en dehors du Louvre<\/em>, Cahiers du dessin fran\u00e7ais, n\u00b0\u00a05, Paris, 1988, n\u00b0 39.<\/p>\r\n<!-- \/wp:paragraph -->\r\n\r\n<!-- wp:paragraph -->\r\n<p><a href=\"#_ftnref2\" name=\"_ftn2\">[2]<\/a> Cf. Marc Sandoz, <em>Portraits et visages dessin\u00e9s par Th\u00e9odore Chass\u00e9riau<\/em>, Cahiers Th\u00e9odore Chass\u00e9riau II, Paris 1986, p. 142-153, n\u00b0 140-150.<\/p>\r\n<!-- \/wp:paragraph -->\r\n\r\n<!-- wp:paragraph -->\r\n<p><a href=\"#_ftnref3\" name=\"_ftn3\">[3]<\/a> L\u00e9once B\u00e9n\u00e9dite, <em>Th\u00e9odore Chass\u00e9riau, sa vie et son \u0153uvre<\/em>, unpublished manuscript published by Andr\u00e9 Dezarrois, 2 vol., Les \u00e9ditions Braun, Paris, 1931, vol. 1, p. 132.<\/p>\r\n<!-- \/wp:paragraph -->\r\n\r\n<!-- wp:paragraph -->\r\n<p><a href=\"#_ftnref4\" name=\"_ftn4\">[4]<\/a> Cf. L.-A. Prat, <em>op. cit.<\/em>, 1988, n\u00b0 35 et M. Sandoz, 1986, n\u00b0 140, p. 142-143, currently at Pia Gallo Llc, New York.<\/p>\r\n<!-- \/wp:paragraph -->\r\n\r\n<!-- wp:paragraph -->\r\n<p><a href=\"#_ftnref5\" name=\"_ftn5\">[5]<\/a> Cf. L.-A. Prat, <em>op. cit.<\/em>, 1988, n\u00b0 38 et M. Sandoz, 1986, n\u00b0 141, p. 142-143. Sandoz sees the young boy as Chass\u00e9riau who occasionally used himself as a model (cf. <em>Le retour de l\u2019enfant prodigue<\/em>, 1836; Marc Sandoz, <em>Catalogue raisonn\u00e9 des peintures et <\/em>estampes, 1974, n\u00b0 26).<\/p>\r\n<!-- \/wp:paragraph -->\r\n\r\n<!-- wp:paragraph -->\r\n<p><a href=\"#_ftnref6\" name=\"_ftn6\">[6]<\/a> Louis-Antoine Prat, <em>Chasseriana\u00a0: quelques \u0153uvres de Chass\u00e9riau r\u00e9apparues<\/em>, <a href=\"https:\/\/www.latribunedelart.com\/chasseriana-quelques-oeuvres-de-chasseriau-reapparues\" target=\"_blank\" rel=\"noopener\">article de la Tribune de l\u2019Art<\/a> vendredi 15 mai 2020. Cf. Jean-Baptiste Nouvion, <em>Chass\u00e9riau\u00a0: correspondance oubli\u00e9e<\/em>, Les Amis de Th\u00e9odore Chass\u00e9riau, 2014, p. 35, fig. 10.<\/p>\r\n<!-- \/wp:paragraph -->","protected":false},"excerpt":{"rendered":"<p>\u00ab Chass\u00e9riau&#8217;s graphic works seem to us today the expression of a personality as skilled as original, multifaceted as well as fruitful. What is striking in them above all, is the very particular poetry that emanates from the least of his figures, accentuated by the elegance of the line \u00bb[1]. These words, penned by Louis-Antoine [&hellip;]<\/p>\n","protected":false},"author":6,"featured_media":5387,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_themeisle_gutenberg_block_has_review":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[45],"tags":[239,266],"class_list":["post-2935","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-focus","tag-19th","tag-maternity"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Sweetness and poetry in this charming study of maternal love by Th\u00e9odore Chass\u00e9riau<\/title>\n<meta name=\"description\" content=\"\u00ab Chass\u00e9riau&#039;s graphic works seem to us today the expression of a personality as skilled as original, multifaceted as well as fruitful. 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