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A 3 page essay that briefly discusses the career of Theodore Chasseriau, a nineteenth century French figurative artist and then offers analysis of his work "Andromeda Tied to the Rock by Nereids." Bibliography lists 2 sources.
Page Count:
3 pages (~225 words per page)
File: KL9_khchandro.rtf
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bridge between the Neo-classicism of his teacher and mentor, Ingres, and the Romanticism of Delacroix ("Theodore"). His work remains highly influenced by Ingres, but he also admired the richness of
color seen in the work of Delacroix. He was recognized at the time of his death at 37 as a "modern exemplar of the long tradition of French history painting"
and a "critical link between ancien-regime and modern practices" (Porterfield). As with many other Romantic artists, Chasseriau turned away from contemporary subjects and drew upon myth and the Bible
for inspiration (Porterfield). His heroines are often presented as victims. As they face "violence and possession," they appear "frozen" with fear, which is seen in their "delicate gestures and mesmerizing
expressions" (Porterfield). Certainly, this description holds true for his work "Andromeda Tied to the Rock by the Nereids" (1840). In this work, Chasseriau draws upon the Greek myth of
Andromeda, whose mother, Cassiopeia, angered the sea nymphs, the Nereids, by saying that her beauty exceeded theirs. Poseidon sent a monster to terrorize the countryside and atonement for this
insult could only be appeased through the sacrifice of Cassiopeias virgin daughter Andromeda to the sea monster. She was subsequently changed to a rock near the coast, but Perseus, having
killed the Gorgon Medusa, rescued Andromeda, slaying the monster. As indicated above, Chasseriaus work has been viewed as a bridge between the Neo-classical and Romantic periods. Neo-classical artists and
intellectuals valued the rationality of the intellect and attempted to recreate the elements found in classical Greek and Roman art. Romanticism was a reaction to the contemplative nature of Neoclassical
intellectualism, as it celebrated emotion and passion, and, unlike Neo-classicism, tended to picture nature as violent, mirroring the passions found in human life. The Neo-classical artistic motifs of the
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