Susanna and the Elders (1856)

Théodore Chassériau: Susanna and the Elders

Drawings (1856)

 Jean-August-Dominique Ingres: Mademoiselle Cecile Panckoucke

  

Théodore Chassériau: Portrait of Princess Marie Cantacuzene

Macbeth and Banquo Encountering the Three Witches on the Heath (1855)

Théodore Chassériau: Macbeth and Banquo Encountering the Three Witches on the Heath

Théodore Chassériau (1854)

 Théodore Chassériau: Macbeth Seeing the Ghost of Banquo

  

Théodore Chassériau: Moorish Woman Leaving the Bath in the Seraglio

Théodore Chassériau (1853)

 Reclining Odalisque

  

 The Tepidarium

  

Portrait of Comte Oscar de Ranchicourt

Portrait of Comtesse du Magnoncourt (1852)

Théodore Chassériau: Portrait of Comtesse du Magnoncourt, née Mary de Tracy

Cossack Girls Finding Mazeppa's Body (1851)

Théodore Chassériau: Cossack Girls Finding Mazeppa's Body

Mazeppa was a figure of legend, a Ukrainian who became leader of the Cossacks.

Théodore Chassériau

 Bather Sleeping Near a Spring (1850)

  

Orientalist Interior (1850)

Moorish Dancers (1849)

Théodore Chassériau: Moorish Dancers

Jewish Women of Algeria (1849)

Théodore Chassériau: Jewish Women of Algeria on a Balcony

Desdemona Retiring to her Bed (1849)

Théodore Chassériau: Desdemona Retiring to her Bed

Another Shakespearean scene from Chassériau.

Portrait of Mme Borg de Balsan (1847)

Théodore Chassériau: Portrait of Mme Borg de Balsan

Ali-Ben-Hamet, Caliph of Constantinople (1845)

Théodore Chassériau: Ali-Ben-Hamet, Caliph of Constantinople 

and Chief of the Haractas, Followed by his Escort

In the same Salon [1845] appeared a painting which is always compared to Delacroix's Sultan of Morocco: Théodore Chassériau's equestrian Portrait of Kalif Ali-Ben Hamet (or Ahmed) Followed by His Escort. Indeed, in the Rochester Orientalism catalogue, Chassériau's painting is described as "inevitably recalling Delacroix's portrait," although more "detailed and portrait-like." But Chassériau's is actually a very different image, serving a radically different purpose. It is actually a commissioned portrait of an Algerian chieftain friendly to the French, who, with his entourage, was being wined and dined by the French authorities in Paris at the time.

Ali-Ben Ahmed, in short, unlike the uncooperative and defeated Abd-el-Rahman, was a leader who triumphed as a cat's-paw of the French. The relationship between the two works, then, is much more concrete than some vague bond created by their compositional similarity – they are actually quite different in their structure – or the obfuscating umbrella category of Orientalism. For it is a concrete relationship of opposition or antagonism, political and ideological, that is at issue here. Indeed, if we consider all the other representations of North African subjects in the Salon of 1845 – and there were quite a few – merely as examples of Orientalism, we inevitably miss their significance as political documents at a time of particularly active military intervention in North Africa. In other words, in the case of imagery directly related to political, diplomatic, and military affairs in the inspirational territory of Orientalism, the very notion of "Orientalism" itself in the visual arts is simply a category of obfuscation, masking important distinctions under the rubric of the picturesque, supported by the illusion of the real. [Linda Nochlin, "The Imaginary Orient," in Visual Culture: Critical Concepts in Media and Cultural Studies, Joanne Morra and Marquand Smith, eds., pp. 19-36, quote above from p. 33.]

Two Sisters (1843)

Théodore Chassériau: Two Sisters

Théodore Chassériau was just twenty-four years old when he painted this portrait of his two sisters. The work is widely regarded as one of his masterpieces and was considered by the renowned Impressionist painter Edgar Degas to be one of the most beautiful paintings of the century. Immediately captivating viewers with its charm is a device used by Chassériau to convey his own strong affection for his sisters. The two women stand arm in arm but their identical clothing, jewelry, and hairstyle make them seem even more closely connected—like twins. In reality, Marie-Antoinette on the left, known to the painter as Adèle, was already thirty-three while her sister Geneviève, better known as Aline, was only twenty-one. The exotic overtones present in the dark hair and complexion of the two women, which evoke the family’s Caribbean origins, are heightened by their red shawls with an Indian pattern. The red of these shawls corresponds in turn to the red of their lips and cheeks. Physically, the Chassériau sisters resemble their Creole mother. The young painter borrowed the precise modeling of the fabrics and surfaces and strong chromatic correspondences from his teacher Jean-Auguste-Dominique Ingres. [inkling.com]

The Wife of Admiral Duperré and Her Daughters (1841)

Théodore Chassériau: Portrait of the Wife of Admiral Duperré and Her Daughters

 

Wikipedia has an article about the admiral; his wife and daughters are not mentioned.

La comtesse de La Tour-Maubourg (1841)

Théodore Chassériau: La comtesse de La Tour-Maubourg 

(née Marie-Louise-Charlotte-Gabrielle Thomas de Pange)

Sappho Leaping into the Sea (ca. 1840)

Théodore Chassériau: Sappho Leaping into the Sea from the Leucadian Promontory

Andromeda Chained to the Rock (1840)

Théodore Chassériau: Andromeda Chained to the Rock by the Neireids

Portrait of Mme Monnerot the Elder (1839)

Théodore Chassériau: Portrait of Mme Monnerot the Elder

Punishment of Cain (1836)

Théodore Chassériau: Punishment of Cain

Another painting with a somber theme.