Sign In or Create an Account. Close mobile search navigation Article navigation. For permissions, please email: You do not currently have access to this article. You could not be signed in. Sign In Forgot password? Don't have an account? Sign in via your Institution Sign in. The setting was inspired by Persian miniatures and was full of exotic detail, but the woman's long reclining form was pure Ingres. The second painting he sent, in , was The Illness of Antiochus ; also known as Aniochus and Stratonice a history painting on a theme of love and sacrifice, a theme once painted by David in , when Ingres was in his studio.
It was commissioned by the Duc d'Orleans , the son of King Louis Philippe I , and had very elaborate architectural background designed by one of the Academy students, Victor Baltard , the future architect of the Paris market Les Halles. The central figure was an ethereal woman in white, whose contemplative pose with her hand on her chin recurs in some of Ingres's female portraits. His painting of Aniochius and Stratonice, despite its small size, just one meter, was a major success for Ingres. In April he returned definitively to Paris. After the heir to the throne was killed in a carriage accident a few months after the painting was completed in , Ingres received commissions to make additional copies.
He took his students frequently to the Louvre to the see the classical and Renaissance art, instructing them to look straight ahead and to avoid the works of Rubens , which he believed deviated too far from the true values of art. The Revolution of , which overthrew Louis Philippe and created the French Second Republic , had little effect on his work or his ideas. It represented Venus, rising from the sea which had given birth to her, surrounded by cherubs. He made more than five hundred preparatory drawings, and worked on the enormous project for six years.
In an attempt to imitate the effect of Renaissance frescos , he chose to paint the murals in oil on plaster, which created technical difficulties. Ingres was devastated by the loss of his wife, who died on 27 July , and he was finally unable to complete the work.
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However, in , Ingres, then seventy-one years of age, married forty-three-year-old Delphine Ramel, a relative of his friend Marcotte d'Argenteuil. It was destroyed in May when the Paris Commune set fire to the building. In he was awarded the title of Senator, and made a member of the Imperial Council on Public Instruction. Three of his works were shown in the London International Exhibition, [80] and his reputation as a major French painter was confirmed once more.
He continued to rework and refine his classic themes.
Jean-Auguste-Dominique Ingres
In he produced new versions of The Virgin of the Host , and in he completed Christ and the Doctors , a work commissioned many years before by Queen Marie Amalie for the chapel of Bizy. At the request of the Uffizi Gallery of Florence, he made his own-self portrait in The only colour in the painting is the red of his rosette of the Legion of Honour.
Near the end of his life, he made one of his best-known masterpieces, The Turkish Bath. It reprised a figure and theme he had been painting since , with his Petite Baigneuse. Originally completed in a square format in and sold to Prince Napoleon in , it was returned to the artist soon afterward—according to a legend, Princess Clothilde was shocked by the abundant nudity. The painting continued to cause a scandal long after Ingres was dead. It was initially offered to the Louvre in , but was rejected, [87] before being given to the Louvre in Ingres died of pneumonia on 14 January , at the age of eighty-six, in his apartment on the Quai Voltaire in Paris.
Ingres's style was formed early in life and changed comparatively little.
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From the first, his paintings are characterized by a firmness of outline reflecting his often-quoted conviction that "drawing is the probity of art". See what is left after that. Drawing is seven eighths of what makes up painting. The art historian Jean Clay said Ingres "proceeded always from certitude to certitude, with the result that even his freest sketches reveal the same kind of execution as that found in the final works. Among Ingres's historical and mythological paintings, the most satisfactory are usually those depicting one or two figures, such as Oedipus , The Half-Length Bather , Odalisque , and The Spring , subjects only animated by the consciousness of perfect physical well-being.
Jean-Auguste-Dominique Ingres | An Introduction to 19th Century Art
In Roger Freeing Angelica , the female figure shows the finest qualities of Ingres's work, [33] while the effigy of Roger flying to the rescue on his hippogriff sounds a jarring note, for Ingres was rarely successful in the depiction of movement and drama. According to Sanford Schwartz, the "historical, mythological, and religious pictures bespeak huge amounts of energy and industry, but, conveying little palpable sense of inner tension, are costume dramas The faces in the history pictures are essentially those of models waiting for the session to be over.
When an emotion is to be expressed, it comes across stridently, or woodenly. Ingres was averse to theories, and his allegiance to classicism—with its emphasis on the ideal, the generalized, and the regular—was tempered by his love of the particular. The ancients did not create, they did not make; they recognized. Ingres's choice of subjects reflected his literary tastes, which were severely limited: Although capable of painting quickly, he often laboured for years over a painting.
Ingres's pupil Amaury-Duval wrote of him: Portrait of Monsieur Bertin , the Louvre. While Ingres believed that history painting was the highest form of art, his modern reputation rests largely upon the exceptional quality of his portraits. By the time of his retrospective at the Exposition Universelle in , an emerging consensus viewed his portrait paintings as his masterpieces.
Baudelaire called him "the sole man in France who truly makes portraits. The portraits of M. A good portrait seems to me always as a biography dramatized. Ingres had originally planned to paint Bertin standing, but many hours of effort ended in a creative impasse before he decided on a seated pose.
The portrait quickly became a symbol of the rising economic and political power of Bertin's social class. For his female portraits, he often posed the subject after a classical statue; the famous portrait of the Comtesse de'Haussonville may have been modeled after a Roman statue called "Pudicity" "modesty" in the Vatican collection. The eye of the viewer would perceive the fabrics as realistic and would assume the face was equally true.
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Study for the Grande Odalisque The violinist Niccolo Paganini Study for The Turkish Bath Drawing was the foundation of Ingres's art. In the Ecole des Beaux-Arts he excelled at figure drawing, winning the top prizes. During his years in Rome and Florence, he made hundreds of drawings of family, friends, and visitors, many of them of very high portrait quality. He never began a painting without first resolving the drawing, usually with a long series of drawing in which he refined the composition.
In the case of his large history paintings, each figure in the painting was the subject of numerous sketches and studies as he tried different poses. He demanded that his students at the Academy and the Ecole des Beaux-Arts perfect their drawing before anything else; he declared that a "thing well drawn is always a thing well painted". His portrait drawings, of which about are extant, [] are today among his most admired works.
While a disproportionate number of them date from his difficult early years in Italy, he continued to produce portrait drawings of his friends until the end of his life. Agnes Mongan has written of the portrait drawings:. Before his departure in the fall of from Paris for Rome, the familiar characteristics of his drawing style were well established, the delicate yet firm contour, the definite yet discreet distortions of form, the almost uncanny capacity to seize a likeness in the precise yet lively delineation of features.
The preferred materials were also already established: So familiar to us are both the materials and the manner that we forget how extraordinary they must have seemed at the time Ingres' manner of drawing was as new as the century. It was immediately recognized as expert and admirable.
If his paintings were sternly criticized as "Gothic," no comparable criticism was leveled at his drawings. His student Raymond Balze described Ingres's working routine in executing his portrait drawings, each of which required four hours, as "an hour and a half in the morning, then two-and-a-half hours in the afternoon, he very rarely retouched it the next day.
He often told me that he got the essence of the portrait while lunching with the model who, off guard, became more natural. Ingres drew his portrait drawings on wove paper , which provided a smooth surface very different from the ribbed surface of laid paper which is, nevertheless, sometimes referred to today as " Ingres paper ". Drawings made in preparation for paintings, such as the many studies for The Martyrdom of St. Symphorian and The Golden Age , are more varied in size and treatment than are the portrait drawings.
It was his usual practice to make many drawings of nude models, in search of the most eloquent gesture, before making another series of drawings for the draperies. In his early years he sometimes had his model pose behind a translucent veil that suppressed details and emphasized the arabesque. Ingres drew a number of landscape views while in Rome, but he painted only one pure landscape, the small tondo Raphael's Casino although two other small landscape tondos are sometimes attributed to him.
For Ingres, colour played an entirely secondary role in art. He wrote, "Colour adds ornament to a painting; but it is nothing but the handmaiden, because all it does is to render more agreeable the true perfections of the art. Rubens and Van Dyck can be pleasing at first sight, but they are deceptive; they are from the poor school of colourists, the school of deception.
Never use bright colours, they are anti-historic. It is better to fall into gray than to into bright colours. A dull and opaque effect is found in all their canvases. The accusation is perfectly just: Ingres is not, in fact, of his time — he is eternal. Neoclassicism and Romanticism Englewood Cliffs: Prentice Hall, , pp.
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