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Theodore
Chassiorio

France 
1819−1856
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He studied at the Paris school of fine arts, and then in the Studio of Ingres. Theodore was the youngest pupil of Ingres, the artist often made him an example to other students as "the future Napoleon of painting." At first he painted classical and religious subjects, concerned mainly about the style of drawing and outer beauty of the images, but then joined a group of romantics and imitated Delacroix. In this second direction, it is particularly successfully worked after his trip to Algeria and to the East, where he acquired the rare ability to convey the brightness and heat of the southern sun and well-studied local types and ways of life.

A French artist.

His father, the French Ambassador in the Dominican Republic, fearing for his wife and children during the riots of blacks in 1822 he arranged them in Paris under the patronage of his eldest son. Brother Theodore, who was older than him by 18 years, supported by an early passion for the future artist to painting, and later, as an influential functionary, provided him with material support.

In 1831, Caserio entered the Studio of Ingres, who from the first steps of understand of the exceptional abilities of this young man and wanted to take it with themselves, having received the appointment to the post of Director of the French Academy at Rome in 1834; but lack of finances forced the young student to postpone the trip. He bi by myself, but in 15 years has finally owned his skill, and was familiar with famous artists and writers. In the Salon of 1836 was put up 6 of his paintings: four portraits are now in the Louvre ("Portrait of the artist's mother", "Adele Sassari", "Ernest Chasseriau", "Artist Marila"). After the salon of 1839 (where he exhibited, in particular, his painting "Venus of Anadyomene" and "bathing Susanna", Paris, Louvre), he received the order, which gave him the opportunity to go to Italy. He spent six months in Rome and Naples. This time dates the wonderful portrait of Lacordaire (1840, Paris, Louvre). After a new meeting with Ingres, among them developing the disorder. The tenderness, the ambiguous charm, colorful excitement of the figures, Sassari, thought the master, authoritarian and biased, completely incompatible with his doctrine. However, whether his primary education left a lasting impression, whether in accordance with his upbringing, but Sassari throughout life was a tribute to Ingres. His works such as "the toilet of Esther" (1842, Paris, Louvre), "Two sisters" (1843), "Portrait of Mademoiselle Tabarru" (1848, camper, Museum), "Tepidarium" (1853, Paris, musée d'orsay) show englishsnow linearity and static.

However, since 1842 in the art of Sassari approved a new trend, a growing commitment to color, to more mobile forms, beloved of all romantic authors subjects (paintings and lithographs to the "Othello" of Shakespeare, 1844). A trip to Algeria in 1846 confirmed these tendencies. Contact with the East opened a genuine fusion of light and movement ("the Arab naezdniki, uvozyaschy dead", 1850, private collection). The critic wanted to see in this new manner, Sassari imitation of Delacroix. The influence of the latter was undeniable, but the word "imitation" was incorrect. Sassari, artist sophisticated temperament, well knew how to combine one with something diametrically opposite, creating original work. This double aspect is evident in his large wall murals - the main part of his work. In Paris he decorated the chapel of Saint-Merri ("History of St. Mary of Egypt", 1844), the font in the Church. Saint-Rock ("SV. Philip baptizing the eunuch of the Queen of Ethiopia", 1853), the apse in the Church. Saint-Philippe du Roule ("descent from the cross", 1855) and the stairs in the chamber (1844-1848) - the most outstanding of his ensemble, burnt during the Commune (fragments, damaged by fire, Paris, Louvre: "Peace", "War", "Commerce").

From art, Sassari comes a kind of mysterious charm, caused, to a large extent, attractive and passionate female images. These are the artist's sister, Adele, Alice ozy ("Sleeping nymph", Avignon Museum), Princess cantacuzene. It's art, simultaneously noble and voluptuous, was the source of creativity of two great artists of the second half of the nineteenth century, Puvis de Chavannes and Gustave Moreau. Thanks to the gifts of the artist's nephew, Baron Arthur, Chasseriau, the Louvre presents a large collection of paintings, sketches and drawings, Sassari.

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