Comtesse de La Tour-Maubourg (Marie-Louise-Charlotte-Gabrielle Thomas de Pange, 1816–1850)

Chassériau's art has often been characterized as an attempt to reconcile the classicism of Ingres with the romanticism of Delacroix. In composing his narrative paintings, his concern for the decorative arrangement of figures and the creation of a mood took precedence over narrative coherence. His preferred method of working was to study his model carefully and then draw from memory. He favored the serpentine pose, especially for his female figures. Art historian Jonathan P. Ribner calls "the inclined neck and bent knee" Chassériau's "signature motif" and says that "his command of foreshortening and three-dimensional composition remained uneven to the end, and this limitation is reflected in the tenacity of his ... inclination toward flattened, stylized poses." According to Léon Rosenthal, Chassériau was "much less concerned with bringing heroes to life or developing characters than desirous of producing subtle and infinitely rich impressions suggested to him by the themes he chooses".