Pygmalion and the Image series which dates back to 1867–1870, used harsher tones, darker colours and less fluid lines – as may be seen in the Gallery below. This second version, despite being painted in oils, has the sheen and soft tones of chalk. The story tells of Pygmalion, a sculptor of Cyprus, the birthplace of Aphrodite. It was first related in Ovid's "Metamorphoses", although by the time of this series, William Morris had written his own version of the story. Pygmalion is seen here in his studio, pondering his lonely life, having chosen to remain celibate in disgust at what he saw as the
Pygmalion (Rousseau) forms. During the Baroque it provided the plot for several ballets. All the adaptations and ballets showed the futility and hopelessness of Pygmalion's efforts to give the sculpture life and his problem as being solved by divine grace, making Pygmalion an important symbol of vanitas. Rousseau's version seems to be the first where Pygmalion brings his perfect image to life without divine help - 'Galathée' (Galatea) comes to life at the last stroke of his chisel, beginning to speak and recognising her creator as her mirror image. She touches herself and says "me", then touches another sculpture and says "not