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1363:, and the iconography in the picture was specified by the bishop. Ingres conceived the painting as the summation of all of his work and skill, and worked on it for ten years before displaying it at the 1834 Salon. He was surprised, shocked and angered by the response; the painting was attacked by both the neoclassicists and by the romantics. Ingres was accused of historical inaccuracy, for the colours, and for the feminine appearance of the Saint, who looked like a beautiful statue. In anger, Ingres announced that he would no longer accept public commissions, and that he would no longer participate in the Salon. He later did participate in some semi-public expositions and a retrospective of his work at the
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564:, provided French artists of the early 19th century with an unprecedented opportunity to study, compare, and copy masterworks from antiquity and from the entire history of European painting. As art historian Marjorie Cohn has written: "At the time, art history as a scholarly enquiry was brand-new. Artists and critics outdid each other in their attempts to identify, interpret, and exploit what they were just beginning to perceive as historical stylistic developments." From the beginning of his career, Ingres freely borrowed from earlier art, adopting the historical style appropriate to his subject, and was consequently accused by critics of plundering the past.
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waited until I was away to assassinate my reputation ... I have never been so unhappy....I knew I had many enemies; I never was agreeable with them and never will be. My greatest wish would be to fly to the Salon and to confound them with my works, which don't in any way resemble theirs; and the more I advance, the less their work will resemble mine." He vowed never again to exhibit at the Salon, and his refusal to return to Paris led to the breaking up of his engagement. Julie
Forestier, when asked years later why she had never married, responded, "When one has had the honor of being engaged to M. Ingres, one does not marry."
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tourists, in particular the
English, passing through postwar Rome. For an artist who aspired to a reputation as a history painter, this seemed menial work, and to the visitors who knocked on his door asking, "Is this where the man who draws the little portraits lives?", he would answer with irritation, "No, the man who lives here is a painter!" The portrait drawings he produced in such profusion during this period rank today among his most admired works. He is estimated to have made some five hundred portrait drawings, including portraits of his famous friends. His friends included many musicians including
1830:, 3 July 1797, now in the Louvre) already show a suavity of outline and an extraordinary control of the parallel hatchings which model the forms. From the first, his paintings are characterized by a firmness of outline reflecting his often-quoted conviction that "drawing is the probity of art". He believed colour to be no more than an accessory to drawing, explaining: "Drawing is not just reproducing contours, it is not just the line; drawing is also the expression, the inner form, the composition, the modelling. See what is left after that. Drawing is seven eighths of what makes up painting."
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305:. By the time he departed in 1806 for his residency in Rome, his styleârevealing his close study of Italian and Flemish Renaissance mastersâwas fully developed, and would change little for the rest of his life. While working in Rome and subsequently Florence from 1806 to 1824, he regularly sent paintings to the Paris Salon, where they were faulted by critics who found his style bizarre and archaic. He received few commissions during this period for the history paintings he aspired to paint, but was able to support himself and his wife as a portrait painter and draughtsman.
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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." The
Institute in Paris complained in 1838 that the students of Ingres in Rome "had a deplorable lack of knowledge of the truth and power of colour, and a knowledge of the different effects of light. A dull and opaque effect is found in all their canvases. They seem to have only been lit by twilight." The poet and critic
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1133:. Ingres loathed the subjectâhe regarded the Duke as one of history's brutesâand struggled to satisfy both the commission and his conscience. After revisions which eventually reduced the Duke to a tiny figure in the background, Ingres left the work unfinished. He entered in his diary, "J'etais forcĂ© par la necessitĂ© de peindre un pareil tableau; Dieu a voulu qu'il reste en ebauche." ("I was forced by need to paint such a painting; God wanted it to remain a sketch.")
1235:(1824), inspired by Raphael, was purely in the Renaissance style, and depicted King Louis XIII vowing to dedicate his reign to the Virgin Mary. This was perfectly in tune with the doctrine of the new government of the Restoration. He spent four years bringing the large canvas to completion, and he took it to the Paris Salon in October 1824, where it became the key that finally opened the door of the Paris art establishment and to his career as an official painter.
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1878:, 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."
1911:, histories, and the lives of the artists. Throughout his life he revisited a small number of favourite themes, and painted multiple versions of many of his major compositions. He did not share his age's enthusiasm for battle scenes, and generally preferred to depict "moments of revelation or intimate decision manifested by meeting or confrontation, but never by violence." His numerous odalisque paintings were influenced to a great extent by the writings of
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figures in a deck of cards"âwere criticized in the 19th century but were welcomed by the avant-garde in the 20th century. An important retrospective of works by Ingres was held at the Salon d'automne in Paris in 1905, which was visited by
Picasso, Matisse, and many other artists. The original and striking composition of "The Turkish Bath", shown for the first time in public, had a visible influence on the composition and poses of the figures in Picasso's
2214:, 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. He often used female models when testing poses for male figures, as he did in drawings for
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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".
376:, sculptor, decorative stonemason, and amateur musician; his mother was the nearly illiterate daughter of a master wigmaker. From his father the young Ingres received early encouragement and instruction in drawing and music, and his first known drawing, a study after an antique cast, was made in 1789. Starting in 1786, he attended the local school Ăcole des FrĂšres de l'Ăducation ChrĂ©tienne, but his education was disrupted by the turmoil of the
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characterize today the talent of this artist, the finesse of contour, the true and profound sentiment of the form, and a modeling with extraordinary correctness and firmness, could already be seen in his early studies. While several of his comrades and David himself signaled a tendency toward exaggeration in his studies, everyone was struck by his grand compositions and recognized his talent.
531:(1805â06). The female faces were not at all detailed but were softened, and were notable for their large oval eyes and delicate flesh colours and their rather dreamlike expressions. His portraits typically had simple backgrounds of solid dark or light colour, or of sky. These were the beginning of a series that would make him among the most celebrated portrait artists of the 19th century.
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2325:, another glittering and tumultuous scene of violence. The duel between the two painters, each considered the best of his school, continued over the years. Paris artists and intellectuals were passionately divided by the conflict, although modern art historians tend to regard Ingres and other Neoclassicists as embodying the Romantic spirit of their time.
4445:Ă l'occasion de l'annĂ©e Ingres, Bernard Fauchille, le directeur des musĂ©es de MontbĂ©liard, a choisi de prĂ©senter « Bonjour Monsieur Ingres » au musĂ©e d'art et d'histoire Beurnier-Rossel. Cette exposition se compose de dessins et de peintures rĂ©alisĂ©s entre 1982 et 2006 par BraunâVega Ă partir des tableaux de jean-Auguste-Dominique Ingres.
2507:, to the most revolutionary of our century from Matisse to Picasso. A classicist? Above all, he was moved by the impulse to penetrate the secret of natural beauty and to reinterpret it through its own means; an attitude fundamentally different to that of David ... there results a truly personal and unique art admired as much by the
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Before his departure in the fall of 1806 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
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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. Another trick that Ingres used was to paint the fabrics and details in
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of 1830. That the outcome of the
Revolution was not a republic but a constitutional monarchy was satisfactory to the essentially conservative and pacifistic artist, who in a letter to a friend in August 1830 criticized agitators who "still want to soil and disturb the order and happiness of a freedom
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Ingres painted a new portrait of
Napoleon for presentation at the 1806 Salon, this one showing Napoleon on the Imperial Throne for his coronation. This painting was entirely different from his earlier portrait of Napoleon as First Consul; it concentrated almost entirely on the lavish imperial costume
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His residence in Rome was postponed until 1806 due to shortage of state funds. In the meantime he worked in Paris alongside several other students of David in a studio provided by the state, and further developed a style that emphasized purity of contour. He found inspiration in the works of
Raphael,
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Delacroix himself was merciless toward Ingres. Describing the exhibition of works by Ingres at the 1855 Exposition, he called it "ridiculous ... presented, as one knows, in a rather pompous fashion ... It is the complete expression of an incomplete intelligence; effort and pretension are everywhere;
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Ingres's own paintings vary considerably in their use of colour, and critics were apt to fault them as too grey or, contrarily, too jarring. Baudelaireâwho said "M. Ingres adores colour like a fashionable milliner"âwrote of the portraits of Louis-François Bertin and Madame d'Haussonville: "Open your
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The preferred materials were also already established: the sharply pointed graphite pencil on a smooth white paper. 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.
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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 1855, an emerging consensus viewed his portrait paintings as his masterpieces.
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school depended; he preferred local colours only faintly modelled in light by half tones. "Ce que l'on sait," he would repeat, "il faut le savoir l'épée à la main." ("Whatever you know, you must know it with sword in hand.") Ingres thus left himself without the means of producing the necessary unity
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One of the first works executed after his return to Paris was a portrait of the duc d'Orléans. After the heir to the throne was killed in a carriage accident a few months after the painting was completed in 1842, Ingres received commissions to make additional copies. He also received a commission to
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His painting of Aniochius and Stratonice, despite its small size, just one meter, was a major success for Ingres. In August it was shown in the private apartment of the duc d'Orléans in the Pavilion Marsan of the Palais des Tuileries. The King greeted him personally at Versailles and gave him a tour
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in playing Beethoven's violin works. Gounod wrote that Ingres "had the tenderness of an infant and the indignation of an apostle." When Stendhal visited the Academy and disparaged Beethoven, Ingres turned to the doorman, indicated Stendhal, and told him, "If this gentleman ever calls again, I am not
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He continued to produce masterful portraits, in pencil and oils, of almost photographic precision; but with the departure of the French administration, the painting commissions were rare. During this low point of his career, Ingres augmented his income by drawing pencil portraits of the many wealthy
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Newly arrived in Rome, Ingres read with mounting indignation the relentlessly negative press clippings sent to him from Paris by his friends. In letters to his prospective father-in-law, he expressed his outrage at the critics: "So the Salon is the scene of my disgrace; ... The scoundrels, they
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wrote of him: "With this facility of execution, one has trouble explaining why Ingres' oeuvre is not still larger, but he scraped out frequently, never being satisfied ... and perhaps this facility itself made him rework whatever dissatisfied him, certain that he had the power to repair the fault,
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he had drawn years earlier reappeared as Thetis. Ingres wrote with enthusiasm that he had been planning to paint this subject since 1806, and he intended to "deploy all of the luxury of art in its beauty". However, once again, the critics were hostile, finding fault with the exaggerated proportions
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From an early age he was determined to be a history painter, which, in the hierarchy of genres established by the Royal Academy of Painting and Sculpture under Louis XIV, and continued well into the 19th Century, was considered the highest level of painting. He did not want to simply make portraits
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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
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discomfited Ingres's patron, the Duc de Luynes, and Ingres suspended work on the mural in 1847. Ingres was devastated by the loss of his wife, who died on 27 July 1849, and he was finally unable to complete the work. In July 1851, he announced a gift of his artwork to his native city of Montauban,
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He was distinguished not just by the candor of his character and his disposition to work alone ... he was one of the most studious ... he took little part in the all the turbulent follies around him, and he studied with more perseverance than most of his co-disciples ... All of the qualities which
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was a decisive influence on the young artist. Ingres won prizes in several disciplines, such as composition, "figure and antique", and life studies. His musical talent was developed under the tutelage of the violinist Lejeune, and from the ages of thirteen to sixteen he played second violin in the
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described "the miserly talent" of Ingres: "Faced with history, M. Ingres calls vainly to his assistance a certain wisdom, decency, convenience, correction and a reasonable dose of the spiritual elevation that a graduate of a college demands. He scatters persons around the center of the action ...
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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." In depicting the human body he disregarded rules of anatomyâwhich he termed a "dreadful science
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wrote: "After a moment of attention, one sees that in this figure there are no bones, no muscles, no blood, no life, no relief, no anything which constitutes imitation....it is evident that the artist deliberately erred, that he wanted to do it badly, that he believed in bringing back to life the
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were among those who acknowledged a debt to Ingres; Matisse described him as the first painter "to use pure colours, outlining them without distorting them." The startling effects of Ingres's paintingsâthe collapsing of traditional depth and perspective and the presentation of figures "like the
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Ingres was averse to theories, and his allegiance to classicismâwith its emphasis on the ideal, the generalized, and the regularâwas tempered by his love of the particular. He believed that "the secret of beauty has to be found through truth. The ancients did not create, they did not make; they
560:, which the French army had seized during its conquest of Flanders. The precision of Renaissance Flemish art became part of Ingres's style. Ingres's stylistic eclecticism represented a new tendency in art. The Louvre, newly filled with booty seized by Napoleon in his campaigns in Italy and the
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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
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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
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called him "the sole man in France who truly makes portraits. The portraits of M. Bertin, M. Molé and Mme d'Haussonville are true portraits, that is, the ideal reconstruction of individuals....A good portrait seems to me always as a biography dramatized." His most famous portrait is that of
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published in 1826 in two competing versions by Delpech and SudrĂ© found eager buyers; Ingres received 24,000 francs for the reproduction rights â twenty times the amount he had been paid for the original painting six years earlier. The 1824 Salon also brought forward a counter-current to the
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How, with so much talent, a line so flawless, an attention to detail so thorough, has M. Ingres succeeded in painting a bad picture? The answer is that he wanted to do something singular, something extraordinary ... M. Ingres's intention is nothing less than to make art regress by four
1316:. Ingres joined the battle with enthusiasm; he called Delacroix "the apostle of ugliness" and told friends that he recognized "the talent, the honorable character and distinguished spirit" of Delacroix, but that "he has tendencies which I believe are dangerous and which I must push back."
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away from the other resident artists, and painted furiously. Many drawings of monuments in Rome from this time are attributed to Ingres, but it appears from more recent scholarship that they were actually the work of his collaborators, particularly his friend the landscape artist
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However, in 1852, Ingres, then seventy-one years of age, married forty-three-year-old Delphine Ramel, a relative of his friend Marcotte d'Argenteuil. Ingres was rejuvenated, and in the decade that followed he completed several significant works, including the portrait of
2367:, who studied with him from 1830, as a precocious eleven-year-old, until Ingres closed his studio in 1834 to return to Rome. Ingres considered ChassĂ©riau his truest discipleâeven predicting, according to an early biographer, that he would be "the Napoleon of painting".
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in Brussels, and in 1825 he made a chalk drawing in vertical format as a model for a reproductive engraving made by Pradier in 1832. The General Miollis version was repurchased by Ingres in the 1830s, reworked by assistants under Ingres's direction, and never finished;
2296:, the teacher of Ingres. A competing school, romanticism, emerged first in Germany, and moved quickly to France. It rejected the idea of the imitation of classical styles, which it described as "gothic" and "primitive". The Romanticists in French painting were led by
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His portrait drawings, of which about 450 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.
852:, recommended to him by her friends in Rome. After a courtship carried out through correspondence, he proposed without having met her, and she accepted. Their marriage was happy; Madame Ingres's faith was unwavering. He continued to suffer disparaging reviews, as
463:. The figures of the envoys, in the right of the painting, are muscular and solid as statues, in the style taught by David, but the two main figures on the left, Achilles and Patroclus, are mobile, vivid and graceful, like figures in a delicate bas-relief.
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wrote of Ingres's work: "It is impossible to better paint the mystery, the silence and the suffocating atmosphere of the seraglio." In 1842 he painted a second version, nearly identical to the first but with a landscape background (painted by his student
1302:, a giant canvas which celebrated all the great artists of history, intended to decorate the ceiling of one of the halls of the Museum Charles X at the Louvre. Ingres was unable to finish the work in time for the 1827 Salon, but displayed the painting in
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1630:. In 1862 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, and his reputation as a major French painter was confirmed once more.
1931:(1856) had a similar history. It was begun in the 1820s as a sketch of "such simplicity that one would suppose she had been painted in a single stroke" according to Amaury-Duval, who believed that Ingres' reworking of the painting in 1855 was a loss.
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In 1800 and 1801, he competed for the Prix de Rome, the highest prize of the Academy, which entitled the winner to four years of residence at the French Academy in Rome. He came in second in his first attempt, but in 1801 he took the top prize with
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eyes, nation of simpletons, and tell us if you ever saw such dazzling, eye-catching painting, or even a greater elaboration of colour". Ingres's paintings are often characterized by strong local colours, such as the "acid blues and bottle greens"
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also, previously sympathetic toward Ingres, shifted toward Delacroix. "M. Ingres can be considered a man gifted with high qualities, an eloquent evoker of beauty, but deprived of the energetic temperament which creates the fatality of genius."
1747:. Originally completed in a square format in 1852 and sold to Prince Napoleon in 1859, it was returned to the artist soon afterwardâaccording to a legend, Princess Clothilde was shocked by the abundant nudity. After reworking the painting as a
1753:, Ingres signed and dated it in 1862, although he made additional revisions in 1863. The painting was eventually purchased by a Turkish diplomat, Khalid Bey, who owned a large collection of nudes and erotic art, including several paintings by
1547:, which he had started as an academic study in 1808. It represented Venus, rising from the sea which had given birth to her, surrounded by cherubs. He welcomed the patronage of the new government of Louis-Napoleon, who in 1852 became Emperor
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Ingres was an amateur violin player from his youth, and played for a time as second violinist for the orchestra of Toulouse. When he was Director of the French Academy in Rome, he played frequently with the music students and guest artists.
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or illustrations of real life like his father; he wanted to represent the heroes of religion, history and mythology, to idealize them and show them in ways that explained their actions, rivaling the best works of literature and philosophy.
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was apparent, leading Ingres to disown his favourite student, of whom he subsequently spoke rarely and censoriously. No other artist who studied under Ingres succeeded in establishing a strong identity; among the most notable of them were
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the portraits with extreme precision and accuracy, but to idealize the face. The eye of the viewer would perceive the fabrics as realistic and would assume the face was equally true. His portraits of women range from the warmly sensuous
1229:). In August 1820, with the help of de Pastoret, he received a commission for a major religious painting for the Cathedral of Montauban. The theme was the re-establishment of the bond between the church and the state. Ingres's painting,
387:, where the young Jean-Auguste-Dominique was enrolled in the Académie Royale de Peinture, Sculpture et Architecture. There he studied under the sculptor Jean-Pierre Vigan, the landscape painter Jean Briant, and the neoclassical painter
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to show his mastery of the male nude. The verdict of the academicians in Paris was that the figures were not sufficiently idealized. In later years Ingres painted several variants of these compositions; another nude begun in 1807, the
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in Paris. He re-organized the Academy, increased the size of the library, added many molds of classical statues to the Academy collection, and assisted the students in getting public commissions in both Rome and Paris. He traveled to
511:(the current whereabouts of which is unknown). Between 1804 and 1806 he painted a series of portraits which were striking for their extreme precision, particularly in the richness of their fabrics and tiny details. These included the
1408:, who was a pensioner at the time at the Academy, described Ingres's appreciation of modern music, including Weber and Berlioz, and his adoration for Beethoven, Haydn, Mozart and Gluck. He joined the music students and his friend
427:, France'sâand Europe'sâleading painter during the revolutionary period, in whose studio he remained for four years. Ingres followed his master's neoclassical example. In 1797 David was working on his enormous masterpiece,
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On 23 November 1806, he wrote to Jean Forestier, the father of his former fiancée, "Yes, art will need to be reformed, and I intend to be that revolutionary." Characteristically, he found a studio on the grounds of the
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in 1835. He returned to Paris for good in 1841. In his later years he painted new versions of many of his earlier compositions, a series of designs for stained glass windows, several important portraits of women, and
993:. Ingres never received payment, due to the collapse of the Murat regime and execution of Joachim Murat in 1815. With the fall of Napoleon's dynasty, he found himself essentially stranded in Rome without patronage.
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design seventeen stained glass windows for the chapel on the place where the accident occurred, and a commission for eight additional stained-glass designs for Orléans chapel in Dreux. He became a professor at the
2043:, which was widely admired when it was exhibited at the 1833 Salon. 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.
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in September. Although he had hoped to stay in Paris long enough to witness the opening of that year's Salon, in which he was to display several works, he reluctantly left for Italy just days before the opening.
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1353:(1832) was a particular success. The public found its realism spellbinding, although some of the critics declared its naturalism vulgar and its colouring drab. In 1834 he finished a large religious painting,
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2203:"). The early drawings are characterized by very taut contours drawn with sharply pointed graphite, while later drawings show freer lines and more emphatic modeling, drawn with a softer, blunter graphite.
318:, was met with acclaim, and Ingres was acknowledged as the leader of the Neoclassical school in France. Although the income from commissions for history paintings allowed him to paint fewer portraits, his
2312:, depicting a tragic event in the Greek War of Independence. Ingres's painting was calm, static and carefully constructed, while the work of Delacroix was turbulent, full of motion, colour, and emotion.
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the rich fabrics, furs and capes, crown of gold leaves, golden chains and emblems were all presented in extremely precise detail; the Emperor's face and hands were almost lost in the majestic costume.
2545:, who was a student under Ingres at the Academy, merely noted that "he was not a professional, even less a virtuoso". Along with the student musicians, he performed Beethoven string quartets with
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that I cannot think of without disgust"âin his quest for a sinuous arabesque. Abhorring the visible brushstroke, Ingres made no recourse to the shifting effects of colour and light on which the
2188:, revealed the sitters' personalities by means so subtleâand so free of crueltyâthat Ingres could "expose the vanities of a fop, a silly woman, or a windbag, in drawings that delighted them."
1579:, illustrating the origins of art. 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
1050:, an anecdotal painting whose subject, a painter brandishing a pistol at his critic, may have been especially satisfying to the embattled Ingres. Other paintings in the same style included
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1122:. Completed in 1820, this imposing work was well received in Rome but to the artist's chagrin the ecclesiastical authorities there would not permit it to be sent to Paris for exhibition.
1432:, (1839), a portrait of a blonde odalisque, or member of a harem, who reclines languorously while a turbaned musician plays. This fitted into the popular genre of orientalism; his rival
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1776:. The contents of his studio, including a number of major paintings, over 4000 drawings, and his violin, were bequeathed by the artist to the city museum of Montauban, now known as the
751:, he sent works at regular intervals to Paris so his progress could be judged. Traditionally fellows sent paintings of male Greek or Roman heroes, but for his first samples Ingres sent
1367:, but never again took part in the Salon or submitted his work for public judgement. Instead, at the end of 1834 he returned to Rome to become the Director of the Academy of France.
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celebrated the breakthrough of a new style: "Nothing is better than variety like this, the essential character of the new style." In January 1825 Ingres was awarded the Cross of the
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4412:(Catalog of the exhibition organized in 2009 together by the Québec Fine Arts National Museum and the Ingres Museum in Montauban, France) (in French). Somogy. 2008. p. 264.
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complained about "the sort of material beauty which excludes the idea of divinity", most critics praised the work. The journalist and future Prime Minister and French President
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pure and primitive manner of the painters of Antiquity; but he took for his model a few fragments from earlier periods and a degenerate execution, and completely lost his way."
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but his work was once again condemned by critics as gothic and unnatural. The critic KĂ©raty complained that the Grande Odalisque's back was three vertebrae too long. The critic
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His rancor against the Paris art establishment for his failure at the 1834 Salon did not abate. In 1836 he refused a major commission from the French Minister of the Interior,
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described the resulting portrait as "The Buddha of the Bourgeoisie". The portrait quickly became a symbol of the rising economic and political power of Bertin's social class.
823:, mother of the prefect of Rome. In 1810 Ingres's pension at the Villa Medici ended, but he decided to stay in Rome and seek patronage from the French occupation government.
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Their consistently high quality belies Ingres's often-stated complaint that the demands of portraiture robbed him of time he could have spent painting historical subjects.
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1541:, had little effect on his work or his ideas. He declared that the revolutionaries were "cannibals who called themselves French", but during the Revolution completed his
380:, and the closing of the school in 1791 marked the end of his conventional education. The deficiency in his schooling would always remain for him a source of insecurity.
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described his playing as "charming", and planned to play through all the Mozart and Beethoven violin sonatas with Ingres. Liszt also dedicated his transcriptions of the
2328:
At the 1855 Universal Exposition, both Delacroix and Ingres were well represented. The supporters of Delacroix and the romantics heaped abuse on the work of Ingres. The
1500:
of the Palace. He was offered a commission to paint a portrait of the Duke, the heir to the throne, and another from the Duc de Lunyes to create two huge murals for the
1530:
in Paris. 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
5495:
761:(1808), a larger painting of the back of a nude bather, and the first Ingres model to wear a turban, a detail he borrowed from the Fornarina by his favourite painter,
362:
5868:
1396:
to study the paleochristian mosaics, medieval murals and Renaissance art. He devoted considerable attention to music, one of the subjects of the academy; he welcomed
2242:
observed: "the students of M. Ingres have very uselessly avoided any semblance of colour; they believe or pretend to believe that they are not needed in painting."
1442:, for the 1834 Salon. The setting was inspired by Persian miniatures and was full of exotic detail, but the woman's long reclining form was pure Ingres. The critic
1962:
2659:
4959:
2175:
It was immediately recognized as expert and admirable. If his paintings were sternly criticized as "Gothic," no comparable criticism was leveled at his drawings.
2598:
2772:
1194:, an old friend from his years in Paris. He still had to depend upon his portraits and drawings for income, but his luck began to change. His history painting
5808:
885:
4994:
1670:(1857 and 1860), and produced variant copies of several of his earlier compositions. These included religious works in which the figure of the Virgin from
471:
459:
301:
5848:
1480:) a history painting on a theme of love and sacrifice, a theme once painted by David in 1800, when Ingres was in his studio. It was commissioned by the
4977:
1797:
5838:
2499:...One realizes in how many ways a variety of artists claim him as their master, from the most plainly conventional of the nineteenth century such as
264:, both painted and drawn, that are recognized as his greatest legacy. His expressive distortions of form and space made him an important precursor of
1496:. 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.
550:. Ingres assimilated their clarity and monumentality into his own portrait style. In the Louvre were also masterpieces of Flemish art, including the
1359:, which depicted the first saint to be martyred in Gaul. The painting was commissioned in 1824 by the Ministry of the Interior for the Cathedral of
918:(1813), based on a book of poems that Napoleon admired, for the ceiling of the Emperor's bedroom. General Miollis also commissioned Ingres to paint
2716:
1081:, a portrait of the French ambassador to Rome, Monsignor Gabriel Cortois de Pressigny. The only other prints he is known to have executed are two
5058:
854:
433:, and was gradually modifying his style away from Roman models of rigorous realism to the ideals of purity, virtue and simplicity in Greek art.
5488:
1734:
Gallery of Florence, he made his own-self portrait in 1858. The only colour in the painting is the red of his rosette of the Legion of Honour.
1375:
Ingres remained in Rome for six years. He devoted much of his attention to the training of the painting students, as he was later to do at the
937:
3825:
244:. Ingres was profoundly influenced by past artistic traditions and aspired to become the guardian of academic orthodoxy against the ascendant
2444:, including a striking drawing of women gracefully dancing in a circle. Matisse produced his own version on this composition in his painting
17:
5823:
4028:
1340:
so gloriously, so divinely won." Ingres's career was little affected, and he continued to receive official commissions and honors under the
5369:
5146:
2723:
1887:
1618:
2081:
5345:
5329:
4952:
3729:
2268:
Ingres and Delacroix became, in the mid-19th century, the most prominent representatives of the two competing schools of art in France,
1126:
996:
1847:. Among Ingres's historical and mythological paintings, the most satisfactory are usually those depicting one or two figures, such as
5481:
5074:
2752:
1892:(1842), for example, in which the realistically painted 81-year-old composer is attended by an idealized muse in classical drapery.
50:
5337:
5265:
1949:
5693:
2280:(1717â1768), who wrote that art should embody "noble simplicity and calm grandeur". Many painters followed this course, including
1927:
was begun in 1807 but not completed until 1848, after a long hiatus resulting from his indecision about the position of the arms.
924:(1812) for his own residence, the villa Aldobrandini. The painting shows the moment when Virgil, reciting his work to the Emperor
899:
5436:
2370:
By the time Chassériau visited Ingres in Rome in 1840, however, the younger artist's growing allegiance to the romantic style of
1722:
1637:
324:
marked his next popular success in 1833. The following year, his indignation at the harsh criticism of his ambitious composition
5818:
5863:
5377:
4945:
2127:
2003:
1979:
1874:, the female nude seems merely juxtaposed with the meticulously rendered but inert figure of Roger flying to the rescue on his
2523:. The latter dedicated an entire exhibition to him in 2006 on the occasion of the year dedicated to Ingres in France museums.
1481:
1090:
5833:
5803:
5066:
4637:
4417:
4390:
1149:
He continued to send works to the Salon in Paris, hoping to make his breakthrough there. In 1819 he sent his reclining nude,
1039:
945:
944:. As usual, Ingres made several versions of the same scene: a three-figure fragment cut from an abandoned version is in the
5843:
4424:
L'Ćuvre de Braun-Vega regorge d'allusions ingresques depuis qu'il a dĂ©couvert les dessins du Montalbanais au Louvre en 1972
1587:
never progressed beyond the architectural background painted by an assistant. Meanwhile, the growing crowd of nudes in the
429:
372:(1755â1814) and his wife Anne Moulet (1758â1817). His father was a successful jack-of-all-trades in the arts, a painter of
5353:
1105:
4921:
5858:
1882:
recognized." In many of Ingres's works there is a collision between the idealized and the particular that creates what
1554:
694:, 1806) praised "the fineness of Ingres's brushwork and the finish", but condemned Ingres's style as gothic and asked:
1202:
in Paris, which was newly devoted to the work of living artists. This was the first work of Ingres to enter a museum.
5591:
5385:
5281:
5122:
5098:
4873:
4859:
4845:
4798:
4767:
4718:
4703:
4689:
4675:
4608:
4573:
4531:
4517:
4503:
4282:
3212:
2733:
2024:
1695:
1355:
1324:
1221:
682:
572:
326:
220:
1768:
on 14 January 1867, at the age of eighty-six, in his apartment on the Quai Voltaire in Paris. He is interred in the
1512:
5597:
5190:
5114:
1298:
968:
5273:
5257:
5090:
5002:
2099:
1870:
1164:
1069:
786:
767:
453:
in October 1799. In 1800 and 1801, he won the grand prize for figure painting for his paintings of male torsos.
2384:
1919:
1205:
778:, remained in an unfinished state for decades, to be completed forty years later and finally exhibited in 1855.
5853:
5321:
5082:
5018:
4901:
4887:
4812:
4559:
2471:, explaining: "That guy was an abstract painter ... He looked at the canvas more often than at the model.
1915:, the wife of the ambassador to Turkey whose diaries and letters, when published, fascinated European society.
971:, a sleeping nude (the original is lost, but several drawings exist, and Ingres later revisited the subject in
908:
890:
687:
712:
5828:
5735:
5393:
2533:
Ingres's well-known passion for playing the violin gave rise to a common expression in the French language, "
1822:
Ingres's style was formed early in life and changed comparatively little. His earliest drawings, such as the
1623:
1364:
628:. Napoleon is not known to have granted the artists a sitting, and Ingres's meticulously painted portrait of
5615:
1802:
1064:
5663:
5305:
5050:
2561:
2487:
2436:
2218:. Nude studies exist even for some of his commissioned portraits, but these were drawn using hired models.
1969:
1895:
Ingres's choice of subjects reflected his literary tastes, which were severely limited: he read and reread
1454:
1136:
4510:
Ingres, Drawings from the Musée Ingres at Montauban and Other Collections: Arts Council of Great Britain;
5361:
5297:
4729:
Ingres Centennial Exhibition 1867â1967: Drawings, Watercolors, and Oil Sketches from American Collections
2649:
2450:
1986:
898:
After he left the Academy, a few important commissions came to him. The French governor of Rome, General
828:
799:
437:
367:
320:
139:
5549:
1757:. The painting continued to cause a scandal long after Ingres was dead. It was initially offered to the
2707:
2558:
2554:
2504:
2410:
2300:
and especially Delacroix. The rivalry first emerged at the Paris Salon of 1824, where Ingres exhibited
2277:
1616:
set fire to the building.) With the help of assistants, in 1854 he completed another history painting,
755:(1807), a painting of the back of a young woman bathing, based on an engraving of an antique vase, and
653:
5537:
2782:
2363:
Ingres was a conscientious teacher and was greatly admired by his students. The best known of them is
2315:
The dispute between the two painters and schools reappeared at the 1827 Salon, where Ingres presented
940:, causing Octavia to faint. The interior was precisely depicted, following the archeological finds at
5409:
5222:
2321:
1543:
1428:, who refused it. He did complete a small number of works which he sent to patrons in Paris. One was
1312:
1023:
774:
686:âreceived a very chilly reception. David delivered a severe judgement, and the critics were hostile.
5627:
4469:
1769:
1583:, he chose to paint the murals in oil on plaster, which created technical difficulties. Work on the
744:
5765:
5603:
5401:
5313:
5130:
5042:
2702:
2364:
2184:
lunching with the model who, off guard, became more natural." The resulting drawings, according to
1472:
1459:
593:
577:
5675:
5567:
2519:
Ingres is one of the most cited artists in the interpictural compositions of the Peruvian painter
1918:
Although capable of painting quickly, he often laboured for years over a painting. Ingres's pupil
1609:
1349:
906:
Palace, a former papal residence, for an expected visit of Napoleon. Ingres painted a large-scale
5561:
5249:
2608:
2376:
2333:
tosses here and there an arm, a leg, a head perfectly drawn, and thinks that his job is done..."
2297:
2148:
1421:
1213:
1015:
630:
388:
31:
5543:
5182:
4615:
Ingres, sa vie, ses travaux, sa doctrine: D'apres les notes manuscrites et les lettres du maitre
1568:
1501:
1376:
1335:
Despite the considerable patronage he enjoyed under the Bourbon government, Ingres welcomed the
757:
718:
450:
5573:
5508:
5444:
5174:
5158:
5138:
2468:
1853:
1773:
1538:
1130:
419:
In March 1797, the Academy awarded Ingres first prize in drawing, and in August he traveled to
331:
5609:
4911:
4274:
4267:
1627:
1269:
1199:
625:
5813:
5428:
5106:
3953:
2741:
2572:
1248:
1231:
584:
In 1803 he received a prestigious commission, being one of five artists selected (along with
481:
314:
3826:"Portrait of an unknown, since the bust, left profile, 1797 â Jean Auguste Dominique Ingres"
3714:
One or more of the preceding sentences incorporates text from a publication now in the
1488:), and had very elaborate architectural background designed by one of the Academy students,
5798:
5793:
5214:
2281:
1912:
1807:
1527:
1027:
597:
585:
5473:
2417:
Ingres's influence on later generations of artists was considerable. One of his heirs was
1443:
1219:
In 1821, he finished a painting commissioned by a childhood friend, Monsieur de Pastoret,
641:
567:
8:
5705:
5681:
5657:
5645:
5206:
5034:
4906:. New York; Detroit: The Metropolitan Museum of Art; The Detroit Institute of Arts. 1975.
2293:
2252:
1812:
1662:
1652:
1517:
1273:
1179:
1151:
1141:
985:
933:
914:
666:
424:
284:
257:
5747:
5621:
2546:
2371:
1433:
1409:
1286:
1037:, idealized portrayals of events in the Middle Ages and Renaissance. In 1815 he painted
1011:
5504:
5010:
2687:
2289:
959:
867:
849:
373:
180:
5771:
4791:
Ingres in Fashion: Representations of Dress and Appearance in Ingres's Images of Women
4397:
références picturales privilégiées Matisse, Ingres, Cézanne, Picasso, Goya, Rembrandt
836:
of Homer: the goddess of the Sea, Thetis, pleads with Zeus to act in favor of her son
5585:
5555:
4883:
4869:
4855:
4841:
4808:
4794:
4777:
4763:
4732:
4714:
4699:
4685:
4671:
4655:
4633:
4618:
4604:
4583:
4569:
4555:
4541:
4527:
4513:
4499:
4413:
4386:
4278:
3618:
3208:
2759:
2520:
2500:
2476:
2329:
2285:
1716:
1599:
1401:
1191:
1157:
1057:
635:
535:
377:
245:
5289:
2425:, a minor disciple of Ingres. In the 20th century, his influence was even stronger.
2351:, later in their careers, Ingres and Delacroix accidentally met on the steps of the
2068:
Joséphine-Eléonore-Marie-Pauline de Galard de Brassac de Béarn, Princesse de Broglie
1633:
589:
466:
5230:
5198:
4916:
4647:
2764:
2630:
2352:
2135:
2106:
2089:
2060:
2008:
1883:
1739:
1559:
1485:
1438:
1112:, provided Ingres with his first official commission since 1814, for a painting of
665:
that Napoleon had chosen to wear, and the symbols of power he held. The scepter of
552:
337:
249:
194:
147:
5687:
5669:
3948:
2044:
1319:
5759:
5741:
5579:
2634:
1464:
1336:
1170:
1034:
863:
358:
253:
233:
5462:
4937:
4741:
Parker, Robert Allerton (March 1926). "Ingres: The Apostle of Draughtsmanship".
2440:
in 1907. The exhibit also included many of his studies for the unfinished mural
1777:
496:
showed a new stylized ideal of female beauty, which would reappear later in his
5717:
5531:
5519:
4786:
4508:
Barousse, Pierre, Jean-Auguste-Dominique Ingres, and Michael Kauffmann (1979).
2542:
2464:
2457:
2405:
2348:
1650:
He continued to rework and refine his classic themes. In 1856 Ingres completed
1489:
1425:
1417:
1405:
1265:
1129:, for a painting of the Duke receiving papal honours for his repression of the
1014:, and he regularly played the violin with others who shared his enthusiasm for
873:
546:, which Napoleon had brought back from his campaign in Italy and placed in the
408:
5525:
3613:
Goldschmidt, Ernst, HĂ©lĂšne Lasalle, Agnes Mongan, and Maurice SĂ©rullaz. 1986.
2482:
1865:, subjects only animated by the consciousness of perfect physical well-being.
1306:. The 1827 Salon became a confrontation between the neoclassicism of Ingres's
5787:
5723:
5699:
5633:
4659:
3733:. Vol. 14 (11th ed.). Cambridge University Press. pp. 566â567.
3720:
3715:
2430:
2426:
2422:
2399:
2380:
2269:
2247:
2229:(although two other small landscape tondos are sometimes attributed to him).
2225:
views while in Rome, but he painted only one pure landscape, the small tondo
2222:
2180:
1613:
1448:
1341:
1198:
was purchased for the private collection of Louis XVIII, and was hung in the
964:
903:
561:
504:
489:
238:
162:
2706:, née Joséphine-Eléonore-Marie-Pauline de Galard de Brassac de Béarn, 1853,
2537:", meaning a second skill beyond the one by which a person is mainly known.
2195:, which provided a smooth surface very different from the ribbed surface of
5753:
2200:
2185:
2161:
1743:. It reprised a figure and theme he had been painting since 1828, with his
1548:
1019:
848:
Although facing uncertain prospects, in 1813 Ingres married a young woman,
739:
700:
601:
557:
538:
introduced him to Italian Renaissance paintings, particularly the works of
485:
294:
3622:
5711:
4817:
Schneider, Pierre (June 1969). "Through the Louvre with Barnett Newman".
4781:
4622:
4545:
2667:
2550:
2472:
2273:
2206:
Drawings made in preparation for paintings, such as the many studies for
1835:
1749:
1397:
1118:
877:
met with generally hostile critical response at the Paris Salon of 1814.
670:
361:, France, the first of seven children (five of whom survived infancy) of
342:
288:
170:
166:
4587:
1296:
The success of Ingres's painting led in 1826 to a major new commission,
1243:
781:
5651:
4736:
4436:
3584:
Werner, Alfred (1966). "Monsieur Ingres â Magnificent 'Reactionary' ".
2584:
2576:
2512:
2336:
2239:
2196:
2192:
2035:
1875:
1537:
The Revolution of 1848, which overthrew Louis Philippe and created the
1493:
1277:
1276:, and in June 1825 he was elected a member of Académie des Beaux-Arts.
1260:
in the Salon of 1824 finally brought Ingres critical success. Although
1225:; de Pastoret also ordered a portrait of himself and a religious work (
1082:
1046:
819:(1811). In 1812 he painted one of his few portraits of an older woman,
265:
2319:, an example of classical balance and harmony, while Delacroix showed
2256:. In other works, especially in his less formal portraits such as the
1737:
Near the end of his life, he made one of his best-known masterpieces,
1714:. The last of his important portrait paintings date from this period:
1666:
1033:
He also produced a series of small paintings in what was known as the
4496:
J.A.D. Ingres: Fifty Life Drawings from the Musée Ingres at Montauban
1816:
1765:
1761:
in 1907, but was rejected, before being given to the Louvre in 1911.
1626:, and in the same year Napoleon III named him a Grand Officer of the
1592:
and in October he resigned as professor at the Ăcole des Beaux-Arts.
1370:
1303:
613:
354:
280:
88:
84:
2121:
Study for the portrait of the Vicomtesse d'Haussonville (circa 1844)
1886:
termed an "oil-and-water sensation". This contradiction is vivid in
1602:, née Joséphine-Eléonore-Marie-Pauline de Galard de Brassac de Béarn
1424:
in Paris, because the commission had been offered first to a rival,
699:
centuries, to carry us back to its infancy, to revive the manner of
484:
vase paintings, and in the outline engravings of the English artist
330:
caused him to return to Italy, where he assumed directorship of the
4265:
De la Croix, Horst; Tansey, Richard G.; Kirkpatrick, Diane (1991).
4014:
4012:
1904:
1678:
of 1858 (painted for Mademoiselle Roland-Gosselin) was followed by
1261:
1187:
1109:
925:
902:, a wealthy patron of the arts, asked him to decorate rooms of the
841:
837:
617:
543:
539:
493:
384:
261:
241:
119:
4459:, 5th ed, 1954, Vol. V, p. 299: "Franz Liszt: Catalogue of Works".
1656:(The Spring), a painting begun in 1820 and closely related to his
1534:, which he believed deviated too far from the true values of art.
1238:
880:
605:
345:
paintings of the female nude, which he finished at the age of 83.
5729:
4819:
4694:
Guégan, Stéphane; Pomaréde, Vincent; Prat, Louis-Antoine (2002).
4580:
Works by J.-A.-D. Ingres in the Collection of the Fogg Art Museum
2568:
2305:
1754:
1389:
1381:
1175:
1078:
941:
826:
In 1811 Ingres completed his final student exercise, the immense
762:
609:
440:, who later became an art critic, described Ingres as a student:
392:
309:
273:
269:
123:
4931:
A Closer Look at the portrait of Louis-François Bertin by Ingres
4009:
2395:
3031:
Quoted and translated in Tinterow, Conisbee et al. 1999, p. 70.
2612:
2508:
2066:(portrayed standing and seated, 1851 and 1856), and the chilly
1954:
1900:
1758:
1731:
1643:
1580:
1531:
1393:
1114:
791:
727:
547:
2276:. Neo-classicism was based in large part on the philosophy of
1839:
of effect when dealing with crowded compositions, such as the
1567:
In 1843 Ingres began the decorations of the great hall in the
1125:
A commission came in 1816 or 1817 from the descendants of the
4731:. Greenwich, Conn.: Distributed by New York Graphic Society.
2418:
1908:
1896:
1783:
1385:
1360:
1347:
Ingres exhibited in the Salon of 1833, where his portrait of
1329:
1293:, in a romantic style sharply contrasting to that of Ingres.
929:
833:
621:
420:
107:
5027:
Virgil reading The Aeneid before Augustus, Livia and Octavia
4526:. University Park, Pa: Pennsylvania State University Press.
4264:
2970:
2968:
2966:
1002:
Virgil reading The Aeneid before Augustus, Livia and Octavia
921:
Virgil reading The Aeneid before Augustus, Livia and Octavia
797:
During his time in Rome he also painted numerous portraits:
5503:
4599:
Condon, Patricia; Cohn, Marjorie B.; Mongan, Agnes (1983).
1717:
Marie-Clothilde-Inés de Foucauld, Madame Moitessier, Seated
1699:
983:, and what later became one of Ingres's most famous works,
657:
604:. These were to be distributed to the prefectural towns of
212:
203:
4240:
Baudelaire, Charles, "The International Exposition of 1855
4201:
3347:, Salon de 1814, Paris, 1814, cited in Jover (2005), p. 87
1095:
Voyages pittoresques et romantiques dans l'ancienne France
707:
634:
appears to be modelled on an image of Napoleon painted by
4882:. Translated by John Goodman. New York: Abbeville Press.
4156:
4038:
3495:
3493:
3491:
3476:
2963:
2199:(which is, nevertheless, sometimes referred to today as "
1222:
The Entry into Paris of the Dauphin, the Future Charles V
953:
was likewise repurchased, modified, but left unfinished.
845:
of the figures and the painting's flat, airless quality.
308:
He was finally recognized at the Salon in 1824, when his
206:
200:
4334:
4332:
4330:
3595:
2495:
Pierre Barousse, the curator of the Musée Ingres, wrote:
4866:
From Monet to CĂ©zanne: Late 19th-century French Artists
4826:
Schwartz, Sanford (13 July 2006). "Ingres vs. Ingres".
4344:
3755:
3388:
3386:
2448:
in 1909. The particular pose and colouring of Ingres's
2355:; Ingres put his hand out, and the two shook amicably.
1710:. In 1862 he completed a small oil-on-paper version of
3557:
3488:
3359:
3079:
3039:
3037:
3004:
2930:
765:. To satisfy the Academy in Paris, he also dispatched
624:, all of which were newly ceded to France in the 1801
348:
237:; 29 August 1780 â 14 January 1867) was a French
4850:
Tinterow, Gary; Conisbee, Philip; Naef, Hans (1999).
4470:"Le Violon d'Ingres (Ingres's Violin) (Getty Museum)"
4327:
4168:
2809:
2807:
1005:(1812, later reworked), Toulouse, Musée des Augustins
975:). Murat also commissioned two historical paintings,
956:
He traveled to Naples in the spring of 1814 to paint
221:
4995:
The Ambassadors of Agamemnon in the tent of Achilles
4696:
ThĂ©odore ChassĂ©riau, 1819â1856: The Unknown Romantic
4601:
In Pursuit of Perfection: The Art of J.-A.-D. Ingres
4592:
Condon, Patricia. "Ingres, Jean-Auguste-Dominique."
4437:"Exposition : Le peintre BraunâVega Ă Beurnier"
4029:
Ingres's Portrait of a Lady is the Mirror of an Age"
3866:
3788:
3685:
3646:
3514:
3428:
3407:
3383:
3371:
1168:, based on an episode in the 16th-century epic poem
460:
The Ambassadors of Agamemnon in the tent of Achilles
302:
The Ambassadors of Agamemnon in the tent of Achilles
209:
4582:. Cambridge, Mass.: Fogg Art Museum, Harvard Univ.
4552:
The Romantic Rebellion: Romantic versus Classic Art
3180:
3141:
3067:
3034:
2942:
2918:
2906:
2894:
2064:
Marie-Clothilde-Inés de Foucauld, Madame Moitessier
1787:
Tomb of Ingres in the PĂšre Lachaise Cemetery, Paris
1622:. A retrospective of his works was featured at the
1504:. In April 1841 he returned definitively to Paris.
1404:. He formed a long friendship with Liszt. Composer
197:
4266:
2869:
2848:
2804:
1798:List of paintings by Jean-Auguste-Dominique Ingres
1371:Director of the French Academy in Rome (1834â1841)
475:, 1801, oil on canvas, Ăcole des Beaux Arts, Paris
449:He was admitted to the painting department of the
283:, he travelled to Paris to study in the studio of
4967:
4522:Betzer, Sarah E., & Ingres, J.-A.-D. (2012).
2841:
2839:
2837:
2564:to Ingres on their original publication in 1840.
1694:, a work commissioned many years before by Queen
1682:(painted for Madame la Baronne de Larinthie) and
1310:and a new manifesto of romanticism by Delacroix,
5785:
4917:Biography and Selected Works of Dominique Ingres
4903:French painting 1774â1830: the Age of Revolution
4056:King, Edward S. (1942). "Ingres as Classicist".
2344:nowhere is there found a spark of the natural."
1953:(1805â06), oil on canvas, 116.5 x 81.7 cm,
1730:, both completed in 1859. At the request of the
967:, the King of Naples, had earlier purchased the
652:In the summer of 1806, Ingres became engaged to
4793:. New Haven and London: Yale University Press.
4698:. New Haven and London: Yale University Press.
4578:Cohn, Marjorie B.; Siegfried, Susan L. (1980).
4524:Ingres and the Studio: Women, Painting, History
4385:(in French). Paris: MengĂšs - RMN. p. 208.
2587:painted on to make her body resemble a violin.
2039:Louis-François Bertin, the chief editor of the
1239:Return to Paris and retreat to Rome (1824â1834)
881:Rome after the Academy and Florence (1814â1824)
534:As Ingres waited to depart to Rome, his friend
5869:Recipients of the Pour le MĂ©rite (civil class)
4185:
4183:
3217:
2834:
2579:(aka Kiki de Montparnasse) in the pose of the
1973:(1810), National Gallery of Art, Washington DC
5489:
4953:
4144:Tinterow, Conisbee et al. 1999, pp. 432, 449.
3541:Tinterow, Conisbee et al. 1999, pp. 408, 489.
3241:Tinterow, Conisbee et al. 1999, pp. 147, 547.
2479:ânone of us would have existed without him."
1772:in Paris with a tomb sculpted by his student
656:, a painter and musician, before leaving for
30:"Ingres" redirects here. For other uses, see
5809:19th-century painters of historical subjects
5370:Luigi Cherubini and the Muse of Lyric Poetry
5147:Joan of Arc at the Coronation of Charles VII
5059:Don Pedro of Toledo Kissing Henry IV's Sword
4381:Cuzin, Jean-Pierre; Salmon, Dimitri (2006).
3464:Tinterow, Conisbee et al. 1999, pp. 281â282.
3267:
3265:
3168:Tinterow, Conisbee et al. 1999, pp. 152â154.
3116:
3114:
3112:
2822:Tinterow, Conisbee et al. 1999, pp. 25, 280.
2724:Joan of Arc at the Coronation of Charles VII
2155:, 1836, pencil on paper, 30.1 x 22.3 cm
1619:Joan of Arc at the Coronation of Charles VII
855:Don Pedro of Toledo Kissing Henry IV's Sword
292:
5346:Portrait of Madame Marcotte de Sainte-Marie
5330:Portrait of Caroline Murat, Queen of Naples
4836:Siegfried, S. L., & Rifkin, A. (2001).
4753:Staging Empire: Napoleon, Ingres, and David
4380:
4273:(9th ed.). Thomson/Wadsworth. p.
4180:
3859:
3857:
3106:Tinterow, Conisbee et al. 1999, pp. 98â101.
2684:Mademoiselle Jeanne-Suzanne-Catherine Gonin
2258:Mademoiselle Jeanne-Suzanne-Catherine Gonin
1492:, the future architect of the Paris market
1436:had created a painting on a similar theme,
936:, mentions the name of Octavia's dead son,
5849:Paintings by Jean-Auguste-Dominique Ingres
5496:
5482:
4960:
4946:
4868:. Grove Art. New York: St Martin's Press.
4603:. Louisville: The J. B. Speed Art Museum.
4035:, 24 November 1985. Retrieved 8 July 2017.
3781:
3779:
3615:Ingres et Delacroix: Dessins et Aquarelles
2390:
2153:Mme Victor Baltard and Her Daughter, Paule
1728:Madame J.-A.-D. Ingres, née Delphine Ramel
1470:The second painting he sent, in 1840, was
1252:(1824), Cathedral of Notre-Dame, Montauban
49:
5075:Henry IV Receiving the Spanish Ambassador
4670:. New York: Stewart, Tabori & Chang.
4646:
4540:. New York: W.W. Norton and Company Inc.
4457:Grove's Dictionary of Music and Musicians
3702:
3700:
3262:
3109:
1723:Self-Portrait at the Age of Seventy-eight
1612:. (It was destroyed in May 1871 when the
1507:
1190:at the urging of the Florentine sculptor
5338:Portrait of Madame Jacques-Louis Leblanc
4751:Porterfield, Todd, and Susan Siegfried.
4682:Jean-Auguste-Dominique Ingres, 1780â1867
4627:
4350:
4207:
3920:Tinterow, Conisbee et al. 1999, pp. 7â8.
3854:
3761:
3719:
3563:
3499:
3482:
3365:
2481:
2394:
2147:
1801:
1782:
1632:
1553:
1511:
1453:
1318:
1242:
1204:
1135:
1127:Fernando Ălvarez de Toledo, Duke of Alva
1063:
995:
912:(1811) for the salon of the Empress and
884:
780:
711:
640:
566:
465:
407:
248:style. Although he considered himself a
4315:Tinterow, Conisbee et al. 1999, p. 370.
4297:Tinterow, Conisbee et al. 1999, p. 281.
4018:Tinterow, Conisbee et al. 1999, p. 300.
3994:Tinterow, Conisbee et al. 1999, p. 512.
3776:
3682:Tinterow, Conisbee et al. 1999, p. 555.
3673:Tinterow, Conisbee et al. 1999, p. 554.
3511:Tinterow, Conisbee et al. 1999, p. 550.
3473:Tinterow, Conisbee et al. 1999, p. 503.
3446:Siegfried & Rifkin 2001, pp. 78â81.
3307:Tinterow, Conisbee et al. 1999, p. 112.
3289:Tinterow, Conisbee et al. 1999, p. 196.
3250:Tinterow, Conisbee et al. 1999, p. 111.
3198:Tinterow, Conisbee et al. 1999, p. 106.
3159:Tinterow, Conisbee et al. 1999, p. 104.
3138:Tinterow, Conisbee et al. 1999, p. 138.
3055:Tinterow, Conisbee et al. 1999, p. 546.
2571:used this expression as the title of a
2263:
708:Rome and the French Academy (1806â1814)
680:, portraits of the RiviĂšre family, and
403:
383:In 1791, Joseph Ingres took his son to
14:
5839:Members of the Académie des beaux-arts
5786:
4852:Portraits by Ingres: Image of an Epoch
4727:Mongan, Agnes; Naef, Dr. Hans (1967).
4713:(in French). Paris: Terrail/Ădigroup.
4058:The Journal of the Walters Art Gallery
3697:
3064:Tinterow, Conisbee et al. 1999, p. 75.
3022:Tinterow, Conisbee et al. 1999, p. 68.
2992:Tinterow, Conisbee et al. 1999, p. 48.
2983:Tinterow, Conisbee et al. 1999, p. 46.
2960:Tinterow, Conisbee et al. 1999, p. 27.
2866:Tinterow, Conisbee et al. 1999, p. 31.
2454:also made a reappearance in Picasso's
1889:Cherubini and the Muse of Lyric Poetry
1686:. In 1859 he produced new versions of
1108:, who was ambassador of France to the
5477:
4941:
4708:
4338:
4174:
4162:
4044:
3872:
3794:
3691:
3664:Mongan and Naef 1967, pp. xxiiâxxiii.
3652:
3601:
3520:
3434:
3413:
3392:
3377:
3356:Cohn and Siegfried 1980, pp. 23, 114.
3186:
3147:
3085:
3073:
3043:
3010:
2948:
2936:
2924:
2912:
2900:
2875:
2854:
2191:Ingres drew his portrait drawings on
2164:has written of the portrait drawings:
1186:In 1820 Ingres and his wife moved to
946:Royal Museums of Fine Arts of Belgium
747:. As required of every winner of the
646:Medallion portrait of Julie Forestier
576:, 1806, oil on canvas, 260 x 163 cm,
232:
4498:. Houston: The Museum of Fine Arts.
3617:. Paris: Michele Trinckvel. p. 258.
3554:. Cambridge University Press, p. 61.
3207:Condon et al. 1983, pp. 52, 56, 58.
2511:for its plastic autonomy, as by the
2028:(1848), Rothschild Collection, Paris
1811:(1842), oil on canvas, 76 x 105 cm,
596:) to paint full-length portraits of
436:One of the other students of David,
430:The Intervention of the Sabine Women
5378:Portrait of Comtesse d'Haussonville
5266:Portrait of Marie-Françoise RiviÚre
4594:Grove Art Online. Oxford Art Online
4538:The Lives of the Painters: Volume 3
4512:. : Arts Council of Great Britain.
3550:Shelton, Andrew Carrington (2005).
3334:Cohn and Siegfried 1980, pp. 22â23.
2889:Louis David, son Ă©cole et son temps
2467:credited Ingres as a progenitor of
2250:professed to "perversely enjoy" in
2004:Portrait of Comtesse d'Haussonville
1950:Portrait of Marie-Françoise RiviÚre
1608:, for the ceiling of a hall in the
1365:1855 Paris International Exposition
396:Orchestre du Capitole de Toulouse.
349:Early years: Montauban and Toulouse
24:
5067:Aretino and Charles V's Ambassador
4854:. New York: Harry N. Abrams, Inc.
2526:
1624:Paris Universal Exposition of 1855
1420:, to decorate the interior of the
1052:Henry IV Playing with His Children
1040:Aretino and Charles V's Ambassador
25:
5880:
5824:Burials at PĂšre Lachaise Cemetery
5386:Portrait of Baronne de Rothschild
5282:Napoleon I on His Imperial Throne
5123:The Martyrdom of Saint Symphorian
4922:Jean Auguste Dominique Ingres.org
4894:
2025:Portrait of Baronne de Rothschild
1356:The Martyrdom of Saint Symphorian
1325:The Martyrdom of Saint Symphorian
1155:, as well as a history painting,
1077:In 1816 Ingres produced his only
683:Napoleon I on his Imperial Throne
573:Napoleon I on his Imperial Throne
503:In 1802 he made his debut at the
327:The Martyrdom of Saint Symphorian
5157:
4462:
4450:
4429:
4402:
4374:
4365:
4356:
4318:
4309:
4300:
4291:
4258:
4245:
4234:
4230:L'Exposition Universelle de 1855
4222:
4213:
4192:
4147:
4138:
4129:
4120:
4111:
4102:
4093:
4084:
4075:
4066:
4050:
4021:
3997:
3988:
3979:
3970:
3961:
3941:
3932:
3923:
3914:
3905:
3896:
3887:
3707:
3404:Condon et al. 1983, pp. 20, 128.
2771:
2751:
2732:
2715:
2694:
2676:
2658:
2641:
2619:
2597:
2567:The American avant-garde artist
2126:
2114:
2098:
2080:
2016:
1995:
1978:
1961:
1941:
1087:The Four Magistrates of Besançon
193:
4596:. Oxford University Press. Web.
4228:de Goncourt, Edmond and Jules,
3985:Cohn and Siegfried 1980, p. 75.
3878:
3845:
3836:
3818:
3809:
3806:Cohn and Siegfried 1980, p. 25.
3800:
3767:
3746:
3737:
3676:
3667:
3658:
3637:
3628:
3607:
3578:
3569:
3544:
3535:
3526:
3505:
3467:
3458:
3449:
3440:
3419:
3398:
3350:
3337:
3328:
3319:
3310:
3301:
3298:Cohn and Siegfried 1980, p. 90.
3292:
3283:
3274:
3253:
3244:
3235:
3226:
3201:
3192:
3171:
3162:
3153:
3132:
3123:
3100:
3091:
3058:
3049:
3025:
3016:
3001:Cohn and Siegfried 1980, p. 22.
2995:
2986:
2977:
2954:
2208:The Martyrdom of St. Symphorian
1702:. He painted small replicas of
415:(1800), Montauban, Musée Ingres
55:Jean-Auguste-Dominique Ingres,
5437:Self-Portrait at Seventy-Eight
5354:Portrait of Amédée de Pastoret
5322:Portrait of Madame de Senonnes
5099:The Dauphin's Entry Into Paris
5083:The Death of Leonardo da Vinci
4269:Gardner's Art Through the Ages
4117:Mongan and Naef 1967, p. xxii.
4081:Mongan and Naef 1967, p. xiii.
3938:Condon et al. 1983, pp. 11â12.
3929:Condon et al. 1983, pp. 12â13.
3725:Ingres, Jean Auguste Dominique
3259:Mongan and Naef 1967, p. xvii.
3232:Cohn and Siegfried 1980, p. 50
2881:
2860:
2825:
2816:
2795:
2653:, 1807, Musée Condé, Chantilly
2605:Academic Study of a Male Torso
2260:(1821), colour is restrained.
1639:Self-Portrait at Seventy-Eight
1089:, made as an illustration for
870:), several portraits, and the
840:. The face of the water nymph
817:Charles-Joseph-Laurent Cordier
513:Portrait of Philipbert Riviére
13:
1:
5864:Pupils of Jacques-Louis David
5640:Jean-Auguste-Dominique Ingres
5394:Portrait of Madame Moitessier
5274:Mademoiselle Caroline RiviĂšre
5258:Portrait of Philibert RiviĂšre
4969:Jean-Auguste-Dominique Ingres
4912:Biography, Style and Artworks
4807:. London: Thames and Hudson.
4805:Jean-Auguste-Dominique Ingres
4630:Jean-Auguste-Dominique Ingres
4487:
4443:(in French). 7 October 2006.
4108:Mongan and Naef 1967, p. 244.
2845:Mongan and Naef 1967, p. xix.
2347:According to Ingres' student
1845:Martyrdom of Saint Symphorian
1660:. He painted two versions of
279:Born into a modest family in
234:[ÊÉÌoÉĄystdÉminikÉÌÉĄÊ]
189:Jean-Auguste-Dominique Ingres
71:Jean-Auguste-Dominique Ingres
56:
43:Jean-Auguste-Dominique Ingres
18:Jean Auguste Dominique Ingres
5834:French neoclassical painters
5804:19th-century French painters
5664:Joseph-Nicolas Robert-Fleury
5592:Louis-Jean-François Lagrenée
5306:Portrait of Charles Marcotte
4828:The New York Review of Books
4758:Prat, Louis-Antoine (2004).
3773:Barousse et al. 1979, p. 48.
3177:Mongan and Naef 1967, p. xx.
2666:Jesus Returning the Keys to
2515:for its visionary qualities.
2385:EugĂšne Emmanuel Amaury-Duval
1970:Portrait of Charles Marcotte
1934:
1923:and quickly, too." Ingres's
1521:(1856), Musée d'Orsay, Paris
676:At the Salon, his paintingsâ
529:Portrait of Caroline RiviĂšre
7:
5844:French Orientalist painters
5819:Ăcole des Beaux-Arts alumni
5598:François-Guillaume Ménageot
5362:Portrait of Monsieur Bertin
5298:Portrait of Madame Duvaucey
5019:Romulus' Victory Over Acron
4632:(in French). H.F. Ullmann.
4371:Barousse et al. 1979, p. 7.
4306:Guégan et al. 2002, p. 168.
3851:Barousse et al. 1979, p. 5.
2451:Portrait of Monsieur Bertin
2073:
1987:Portrait of Monsieur Bertin
1690:, and in 1862 he completed
1571:with two large murals, the
909:Romulus' Victory Over Acron
891:Romulus' Victory Over Acron
321:Portrait of Monsieur Bertin
140:Portrait of Monsieur Bertin
10:
5885:
5616:Guillaume Guillon-LethiĂšre
4803:Rosenblum, Robert (1985).
4774:L'opera completa di Ingres
3967:Condon et al. 1983, p. 11.
3316:Condon et al. 1983, p. 86.
3280:Condon et al. 1983, p. 12.
3223:Condon et al. 1983, p. 52.
3120:Condon et al. 1983, p. 64.
3097:Condon et al. 1983, p. 38.
2974:Condon et al. 1983, p. 13.
2708:Metropolitan Museum of Art
2590:
2411:Metropolitan Museum of Art
2278:Johann Joachim Winckelmann
1795:
1676:The Virgin of the Adoption
1160:and the Marshal of Berwick
654:Marie-Anne-Julie Forestier
517:Portrait of Sabine RiviĂšre
423:to study in the studio of
341:, the last of his several
29:
27:French painter (1780â1867)
5859:Prix de Rome for painting
5718:Paul-Maximilien Landowski
5515:
5455:
5420:
5410:Portrait of Madame Ingres
5241:
5166:
5155:
4984:
4975:
4755:(Penn State Press, 2006).
4680:Grimme, Karin H. (2006).
4666:Gowing, Lawrence (1987).
4613:Delaborde, Henri (1870).
3743:Radius 1968, pp. 91, 112.
3425:Condon, Grove Art Online.
2887:DelĂ©cluze, Ătienne-Jean,
2629:, 1804, revised c. 1850,
2488:Les Demoiselles d'Avignon
2437:Les Demoiselles d'Avignon
2358:
2322:The Death of Sardanapalus
2308:, while Delacroix showed
2232:
2057:Mademoiselle Jeanne Gonin
1313:The Death of Sardanapalus
1285:neoclassicism of Ingres:
1227:Virgin with the Blue Veil
1070:Roger Delivrant Angelique
860:Raphael and the Fornarina
293:
176:
158:
129:
115:
96:
66:
48:
41:
5550:Charles-François Poerson
5402:The Princesse de Broglie
5314:Portrait of Paul Lemoyne
5131:The Illness of Antiochus
5043:Raphael and La Fornarina
4494:Arikha, Avigdor (1986).
2789:
2703:The Princesse de Broglie
2221:Ingres drew a number of
2055:(1814) to the realistic
1791:
1606:Apotheosis of Napoleon I
1473:The Illness of Antiochus
1460:The Illness of Antiochus
1430:L'Odalisque et l'esclave
594:Marie-Guillemine Benoist
521:Portrait of Madame Aymon
391:. Roques' veneration of
363:Jean-Marie-Joseph Ingres
5538:Matthieu de La TeuliĂšre
5250:Bonaparte, First Consul
5115:The Apotheosis of Homer
4878:Vigne, Georges (1995).
4772:Radius, Emilio (1968).
4762:. Milan: 5 Continents.
4668:Paintings in the Louvre
4550:Clark, Kenneth (1976).
4472:. Getty.edu. 7 May 2009
4383:Ingres, regards croisés
3911:Rosenblum 1985, p. 132.
3730:EncyclopĂŠdia Britannica
3325:Delaborde 1870, p. 229.
3129:Radius 1968, pp. 90â92.
2783:SĂŁo Paulo Museum of Art
2562:symphonies of Beethoven
2391:Influence on modern art
2377:Jean-Hippolyte Flandrin
2216:Jesus Among the Doctors
1604:. In 1853 he began the
1478:Aniochus and Stratonice
1422:Church of the Madeleine
1299:The Apotheosis of Homer
1214:National Gallery of Art
977:Raphael et la Fornarina
973:L'Odalisque Ă l'esclave
631:Bonaparte, First Consul
592:, Charles Meynier, and
472:The Envoys of Agamemnon
389:Guillaume-Joseph Roques
32:Ingres (disambiguation)
5628:Pierre-Narcisse Guérin
5574:Charles-Joseph Natoire
5509:French Academy in Rome
5175:The Half-Length Bather
5091:Roger Freeing Angelica
5003:Oedipus and the Sphinx
4709:Jover, Manuel (2005).
4684:. Hong Kong: Taschen.
4628:Fleckner, Uwe (2007).
4536:Canaday, John (1969).
4410:Ingres et les modernes
4362:Schneider 1969, p. 39.
3552:Ingres and his Critics
2517:
2492:
2491:, Pablo Picasso (1907)
2469:abstract expressionism
2414:
2177:
2171:
2156:
1871:Roger Freeing Angelica
1854:The Half-Length Bather
1828:Portrait of an unknown
1819:
1788:
1774:Jean-Marie Bonnassieux
1770:PĂšre Lachaise Cemetery
1708:Oedipus and the Sphinx
1692:Christ and the Doctors
1688:The Virgin of the Host
1647:
1564:
1539:French Second Republic
1522:
1508:Last years (1841â1867)
1467:
1332:
1253:
1216:
1196:Roger Freeing Angelica
1165:Roger Freeing Angelica
1146:
1131:Protestant Reformation
1074:
1006:
895:
809:Joseph-Antoine Moltedo
805:François-Marius Granet
794:
787:Oedipus and the Sphinx
768:Oedipus and the Sphinx
745:François-Marius Granet
730:
705:
649:
581:
500:and his famous nudes.
476:
447:
438:Ătienne-Jean DelĂ©cluze
416:
332:French Academy in Rome
287:. In 1802 he made his
276:and other modernists.
5854:People from Montauban
5676:Jules EugĂšne Lenepveu
5568:Jean François de Troy
5445:Antwerp Self-Portrait
5429:Self-Portrait Aged 24
5191:La Dormeuse de Naples
5107:The Vow of Louis XIII
4840:. Oxford: Blackwell.
4654:. Paris: Flammarion.
4568:. New York: Vendome.
4099:Canaday 1969, p. 814.
3893:Arikha 1986, pp. 2â5.
3575:Prat 2004, pp. 86â87.
2549:. In an 1839 letter,
2497:
2485:
2398:
2310:The Massacre at Chios
2302:The Vow of Louis XIII
2172:
2166:
2151:
1805:
1786:
1684:The Virgin with Child
1672:The Vow of Louis XIII
1636:
1610:HĂŽtel de Ville, Paris
1563:(1862â63), The Louvre
1557:
1515:
1476:(1840; also known as
1463:(1840), Musée Condé,
1457:
1350:Louis-François Bertin
1328:(1834), Cathedral of
1322:
1291:Les Massacres de Scio
1249:The Vow of Louis XIII
1246:
1232:The Vow of Louis XIII
1208:
1139:
1067:
999:
888:
784:
715:
696:
692:Le Pausanias Français
644:
570:
469:
442:
411:
315:The Vow of Louis XIII
5829:French male painters
5544:René-Antoine Houasse
5215:Odalisque with Slave
5183:The Valpinçon Bather
4743:International Studio
4554:. London : Murray .
4219:Turner 2000, p. 237.
4189:Ribeiro 1999, p. 18.
4072:Ribeiro 1999, p. 47.
4003:Charles Baudelaire,
3976:Radius 1968, p. 115.
3532:Radius 1968, p. 107.
3271:Arikha 1986, p. 104.
2813:Arikha 1986, p. 103.
2421:, who studied under
2264:Ingres and Delacroix
1913:Mary Wortley Montagu
1808:Odalisque with Slave
1569:ChĂąteau de Dampierre
1528:Ecole des Beaux-Arts
1502:ChĂąteau de Dampierre
1377:Ăcole des Beaux-Arts
753:Baigneuse Ă mi-corps
724:The Valpinçon Bather
586:Jean-Baptiste Greuze
451:Ăcole des Beaux-Arts
404:In Paris (1797â1806)
252:in the tradition of
5766:Frédéric Mitterrand
5748:Pierre-Jean Angremy
5706:Paul-Albert Besnard
5682:Louis-Nicolas Cabat
5658:Jean-Victor Schnetz
5646:Jean-Victor Schnetz
5610:Pierre-Adrien PĂąris
5604:Joseph-Benoßt Suvée
5562:Pierre de lâEstache
5051:Paolo and Francesca
5035:The Dream of Ossian
4864:Turner, J. (2000).
4564:Clay, Jean (1981).
4324:Arikha 1986, p. 11.
4251:Delacroix, EugĂšne,
4198:Clark 1976, p. 121.
4165:, pp. 189â190.
4135:Arikha 1986, p. 91.
4126:Arikha 1986, p. 48.
4047:, pp. 222â223.
3752:Grimme 2006, p. 94.
3634:Grimme 2006, p. 81.
3604:, pp. 228â229.
3455:Grimme 2006, p. 30.
2365:Théodore Chassériau
2317:L'Apotheose d'Homer
2294:Jacques-Louis David
2253:La Grande Odalisque
1841:Apotheosis of Homer
1813:Walters Art Gallery
1704:Paolo and Francesca
1282:La Grande Odalisque
1200:Musée du Luxembourg
1152:La Grande Odalisque
1142:La Grande Odalisque
1117:Giving the Keys to
1099:La Grande Odalisque
986:La Grande Odalisque
951:The Dream of Ossian
915:The Dream of Ossian
832:, a scene from the
821:Comtesse de Tournon
626:Treaty of Lunéville
509:Portrait of a Woman
425:Jacques-Louis David
353:Ingres was born in
291:debut, and won the
258:Jacques-Louis David
5011:Jupiter and Thetis
4776:. Milan: Rizzoli.
4748:(346): 24â32.
4153:Arikha 1986, p. 1.
4090:Arikha 1986, p. 6.
4033:The New York Times
3902:Arikha 1986, p. 2.
3863:Clay 1981, p. 132.
3815:Arikha 1986, p. 5.
3586:The Antioch Review
2688:Taft Museum of Art
2493:
2415:
2298:Théodore Géricault
2290:Anne-Louis Girodet
2157:
2053:Madame de Senonnes
2041:Journal des Debats
1990:(1832), the Louvre
1820:
1789:
1698:for the chapel of
1680:The Virgin Crowned
1648:
1565:
1523:
1484:, the son of King
1468:
1439:Les Femmes d'Alger
1333:
1254:
1217:
1147:
1145:(1814), the Louvre
1075:
1073:(1819), The Louvre
1007:
991:Dormeuse de Naples
981:Paolo et Francesca
969:Dormeuse de Naples
896:
894:(1811), the Louvre
868:Harvard University
850:Madeleine Chapelle
829:Jupiter and Thetis
795:
758:La Grande Bagneuse
731:
650:
598:Napoleon Bonaparte
582:
488:. His drawings of
477:
417:
250:painter of history
181:Madeleine Chapelle
5781:
5780:
5586:Joseph-Marie Vien
5556:Nicolas Vleughels
5471:
5470:
4978:List of paintings
4823:. pp. 34â72.
4648:Gaudibert, Pierre
4639:978-3-8331-3733-4
4617:. Paris: H. Plon
4419:978-2-7572-0242-5
4392:978-2-84459-129-6
4210:, pp. 84â87.
3842:Prat 2004, p. 13.
3785:Prat 2004, p. 90.
3643:Prat 2004, p. 88.
3485:, pp. 81â83.
3343:Landon, Charles,
3088:, pp. 58â59.
3013:, pp. 48â51.
2939:, pp. 36â51.
2831:Prat 2004, p. 15.
2573:famous photograph
2521:Herman Braun-Vega
2330:Brothers Goncourt
2286:Antoine-Jean Gros
1824:Portrait of a Man
1646:Gallery, Florence
1600:Albert de Broglie
1444:Théophile Gautier
1402:Fanny Mendelssohn
1258:Vow of Louis XIII
1192:Lorenzo Bartolini
813:Madame Panckoucke
648:, 1806, by Ingres
636:Antoine-Jean Gros
536:Lorenzo Bartolini
498:Jupiter et Thetis
378:French Revolution
299:for his painting
186:
185:
16:(Redirected from
5876:
5694:EugĂšne Guillaume
5622:Charles Thévenin
5498:
5491:
5484:
5475:
5474:
5231:The Turkish Bath
5223:Venus Anadyomene
5199:Grande Odalisque
5161:
4962:
4955:
4948:
4939:
4938:
4907:
4838:Fingering Ingres
4724:
4663:
4643:
4482:
4481:
4479:
4477:
4466:
4460:
4454:
4448:
4447:
4433:
4427:
4426:
4406:
4400:
4399:
4378:
4372:
4369:
4363:
4360:
4354:
4348:
4342:
4336:
4325:
4322:
4316:
4313:
4307:
4304:
4298:
4295:
4289:
4288:
4272:
4262:
4256:
4249:
4243:
4238:
4232:
4226:
4220:
4217:
4211:
4205:
4199:
4196:
4190:
4187:
4178:
4172:
4166:
4160:
4154:
4151:
4145:
4142:
4136:
4133:
4127:
4124:
4118:
4115:
4109:
4106:
4100:
4097:
4091:
4088:
4082:
4079:
4073:
4070:
4064:
4054:
4048:
4042:
4036:
4027:Russell, John. "
4025:
4019:
4016:
4007:
4005:Le Salon de 1859
4001:
3995:
3992:
3986:
3983:
3977:
3974:
3968:
3965:
3959:
3958:
3945:
3939:
3936:
3930:
3927:
3921:
3918:
3912:
3909:
3903:
3900:
3894:
3891:
3885:
3882:
3876:
3870:
3864:
3861:
3852:
3849:
3843:
3840:
3834:
3833:
3822:
3816:
3813:
3807:
3804:
3798:
3792:
3786:
3783:
3774:
3771:
3765:
3759:
3753:
3750:
3744:
3741:
3735:
3734:
3713:
3711:
3710:
3704:
3695:
3689:
3683:
3680:
3674:
3671:
3665:
3662:
3656:
3650:
3644:
3641:
3635:
3632:
3626:
3611:
3605:
3599:
3593:
3582:
3576:
3573:
3567:
3561:
3555:
3548:
3542:
3539:
3533:
3530:
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3518:
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3509:
3503:
3497:
3486:
3480:
3474:
3471:
3465:
3462:
3456:
3453:
3447:
3444:
3438:
3432:
3426:
3423:
3417:
3411:
3405:
3402:
3396:
3390:
3381:
3375:
3369:
3363:
3357:
3354:
3348:
3341:
3335:
3332:
3326:
3323:
3317:
3314:
3308:
3305:
3299:
3296:
3290:
3287:
3281:
3278:
3272:
3269:
3260:
3257:
3251:
3248:
3242:
3239:
3233:
3230:
3224:
3221:
3215:
3205:
3199:
3196:
3190:
3184:
3178:
3175:
3169:
3166:
3160:
3157:
3151:
3145:
3139:
3136:
3130:
3127:
3121:
3118:
3107:
3104:
3098:
3095:
3089:
3083:
3077:
3071:
3065:
3062:
3056:
3053:
3047:
3041:
3032:
3029:
3023:
3020:
3014:
3008:
3002:
2999:
2993:
2990:
2984:
2981:
2975:
2972:
2961:
2958:
2952:
2946:
2940:
2934:
2928:
2922:
2916:
2910:
2904:
2898:
2892:
2885:
2879:
2873:
2867:
2864:
2858:
2852:
2846:
2843:
2832:
2829:
2823:
2820:
2814:
2811:
2802:
2799:
2775:
2765:National Gallery
2755:
2736:
2719:
2698:
2680:
2662:
2645:
2623:
2601:
2581:Valpinçon Bather
2547:NiccolĂČ Paganini
2353:French Institute
2227:Raphael's Casino
2136:The Turkish Bath
2130:
2118:
2107:Niccolo Paganini
2102:
2090:Grande Odalisque
2084:
2020:
2009:Frick Collection
1999:
1982:
1965:
1945:
1925:Venus Anadyomene
1884:Robert Rosenblum
1745:Petite Baigneuse
1740:The Turkish Bath
1658:Venus Anadyoméne
1628:LĂ©gion d'honneur
1560:The Turkish Bath
1544:Venus Anadyomene
1486:Louis Philippe I
1434:EugĂšne Delacroix
1410:NiccolĂČ Paganini
1287:EugĂšne Delacroix
1270:LĂ©gion d'honneur
1101:, both in 1825.
1097:, and a copy of
872:Interior of the
775:Venus Anadyomene
719:Grande Baigneuse
578:Musée de l'Armée
553:Ghent Altarpiece
371:
338:The Turkish Bath
298:
297:
236:
231:
224:
219:
218:
215:
214:
211:
208:
205:
202:
199:
148:The Turkish Bath
132:
103:
80:
78:
61:
58:
53:
39:
38:
21:
5884:
5883:
5879:
5878:
5877:
5875:
5874:
5873:
5784:
5783:
5782:
5777:
5772:Ăric de Chassey
5760:Richard Peduzzi
5742:Jean-Marie Drot
5511:
5502:
5472:
5467:
5451:
5416:
5237:
5162:
5153:
4986:
4980:
4971:
4966:
4933:(Louvre Museum)
4924:â 200 paintings
4900:
4897:
4892:
4833:(12): 4â6.
4787:Ribeiro, Aileen
4721:
4640:
4490:
4485:
4475:
4473:
4468:
4467:
4463:
4455:
4451:
4435:
4434:
4430:
4420:
4408:
4407:
4403:
4393:
4379:
4375:
4370:
4366:
4361:
4357:
4349:
4345:
4337:
4328:
4323:
4319:
4314:
4310:
4305:
4301:
4296:
4292:
4285:
4263:
4259:
4250:
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4239:
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4218:
4214:
4206:
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4197:
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4098:
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4080:
4076:
4071:
4067:
4055:
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4043:
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4026:
4022:
4017:
4010:
4002:
3998:
3993:
3989:
3984:
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3971:
3966:
3962:
3947:
3946:
3942:
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3928:
3924:
3919:
3915:
3910:
3906:
3901:
3897:
3892:
3888:
3883:
3879:
3871:
3867:
3862:
3855:
3850:
3846:
3841:
3837:
3830:www.wikiart.org
3824:
3823:
3819:
3814:
3810:
3805:
3801:
3793:
3789:
3784:
3777:
3772:
3768:
3760:
3756:
3751:
3747:
3742:
3738:
3723:, ed. (1911). "
3708:
3706:
3705:
3698:
3690:
3686:
3681:
3677:
3672:
3668:
3663:
3659:
3651:
3647:
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3527:
3519:
3515:
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3468:
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3445:
3441:
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3429:
3424:
3420:
3412:
3408:
3403:
3399:
3391:
3384:
3376:
3372:
3364:
3360:
3355:
3351:
3345:Annals du musée
3342:
3338:
3333:
3329:
3324:
3320:
3315:
3311:
3306:
3302:
3297:
3293:
3288:
3284:
3279:
3275:
3270:
3263:
3258:
3254:
3249:
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3240:
3236:
3231:
3227:
3222:
3218:
3206:
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3197:
3193:
3185:
3181:
3176:
3172:
3167:
3163:
3158:
3154:
3146:
3142:
3137:
3133:
3128:
3124:
3119:
3110:
3105:
3101:
3096:
3092:
3084:
3080:
3072:
3068:
3063:
3059:
3054:
3050:
3042:
3035:
3030:
3026:
3021:
3017:
3009:
3005:
3000:
2996:
2991:
2987:
2982:
2978:
2973:
2964:
2959:
2955:
2947:
2943:
2935:
2931:
2923:
2919:
2911:
2907:
2899:
2895:
2886:
2882:
2874:
2870:
2865:
2861:
2853:
2849:
2844:
2835:
2830:
2826:
2821:
2817:
2812:
2805:
2800:
2796:
2792:
2785:
2776:
2767:
2760:Mme. Moitessier
2756:
2747:
2737:
2728:
2720:
2711:
2699:
2690:
2681:
2672:
2663:
2654:
2650:Madame Duvaucey
2646:
2637:
2624:
2615:
2609:National Museum
2602:
2593:
2535:violon d'Ingres
2531:
2528:Violon d'Ingres
2393:
2361:
2282:François Gérard
2266:
2235:
2140:
2131:
2122:
2119:
2110:
2103:
2094:
2085:
2076:
2029:
2021:
2012:
2000:
1991:
1983:
1974:
1966:
1957:
1946:
1937:
1800:
1794:
1764:Ingres died of
1510:
1388:(1835), and to
1373:
1337:July Revolution
1241:
1171:Orlando Furioso
1106:Count of Blacas
1054:(1817) and the
1035:Troubador style
989:, to accompany
932:and his sister
883:
864:Fogg Art Museum
800:Madame Duvaucey
710:
669:, the sword of
523:(also known as
406:
365:
359:Tarn-et-Garonne
351:
254:Nicolas Poussin
229:
222:
196:
192:
169:
165:
154:
130:
111:
105:
101:
100:14 January 1867
92:
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5:
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5595:
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5571:
5565:
5559:
5553:
5547:
5541:
5535:
5532:Charles Errard
5529:
5523:
5520:Charles Errard
5516:
5513:
5512:
5501:
5500:
5493:
5486:
5478:
5469:
5468:
5466:
5465:
5459:
5457:
5453:
5452:
5450:
5449:
5441:
5433:
5424:
5422:
5421:Self-portraits
5418:
5417:
5415:
5414:
5406:
5398:
5390:
5382:
5374:
5366:
5358:
5350:
5342:
5334:
5326:
5318:
5310:
5302:
5294:
5290:La Belle ZĂ©lie
5286:
5278:
5270:
5262:
5254:
5245:
5243:
5239:
5238:
5236:
5235:
5227:
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4957:
4950:
4942:
4936:
4935:
4927:
4925:
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4909:
4896:
4895:External links
4893:
4891:
4890:
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4756:
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4343:
4341:, p. 247.
4326:
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4244:
4233:
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4167:
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3978:
3969:
3960:
3957:. No. 10.
3940:
3931:
3922:
3913:
3904:
3895:
3886:
3884:Schwartz 2006.
3877:
3875:, p. 110.
3865:
3853:
3844:
3835:
3817:
3808:
3799:
3797:, p. 246.
3787:
3775:
3766:
3764:, p. 126.
3754:
3745:
3736:
3721:Chisholm, Hugh
3696:
3694:, p. 253.
3684:
3675:
3666:
3657:
3655:, p. 212.
3645:
3636:
3627:
3606:
3594:
3577:
3568:
3556:
3543:
3534:
3525:
3523:, p. 188.
3513:
3504:
3487:
3475:
3466:
3457:
3448:
3439:
3437:, p. 165.
3427:
3418:
3416:, p. 164.
3406:
3397:
3395:, p. 162.
3382:
3380:, p. 152.
3370:
3358:
3349:
3336:
3327:
3318:
3309:
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3291:
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3108:
3099:
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3078:
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3048:
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3024:
3015:
3003:
2994:
2985:
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2786:
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2731:
2729:
2727:, 1854, Louvre
2721:
2714:
2712:
2700:
2693:
2691:
2682:
2675:
2673:
2664:
2657:
2655:
2647:
2640:
2638:
2625:
2618:
2616:
2603:
2596:
2592:
2589:
2543:Charles Gounod
2530:
2525:
2465:Barnett Newman
2458:Gertrude Stein
2406:Gertrude Stein
2392:
2389:
2360:
2357:
2349:Paul Chenavard
2304:, inspired by
2265:
2262:
2234:
2231:
2212:The Golden Age
2142:
2141:
2132:
2125:
2123:
2120:
2113:
2111:
2105:The violinist
2104:
2097:
2095:
2087:Study for the
2086:
2079:
2075:
2072:
2031:
2030:
2022:
2015:
2013:
2001:
1994:
1992:
1984:
1977:
1975:
1967:
1960:
1958:
1947:
1940:
1936:
1933:
1796:Main article:
1793:
1790:
1712:The Golden Age
1674:was reprised:
1509:
1506:
1490:Victor Baltard
1426:Paul Delaroche
1418:Adolphe Thiers
1406:Charles Gounod
1372:
1369:
1266:Adolphe Thiers
1240:
1237:
1180:Charles Landon
960:Caroline Murat
882:
879:
874:Sistine Chapel
722:, also called
709:
706:
701:Jean de Bruges
590:Robert LefĂšvre
525:La Belle ZĂ©lie
492:and the Nymph
405:
402:
350:
347:
268:, influencing
184:
183:
178:
174:
173:
160:
156:
155:
153:
152:
144:
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127:
126:
117:
116:Known for
113:
112:
106:
104:(aged 86)
98:
94:
93:
83:
81:29 August 1780
70:
68:
64:
63:
60: 1850-67
54:
46:
45:
42:
26:
9:
6:
4:
3:
2:
5881:
5870:
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5842:
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5807:
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5770:
5767:
5764:
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5755:
5752:
5749:
5746:
5743:
5740:
5737:
5736:Jean Leymarie
5734:
5731:
5728:
5725:
5724:Jacques Ibert
5722:
5719:
5716:
5713:
5710:
5707:
5704:
5701:
5700:Carolus-Duran
5698:
5695:
5692:
5689:
5688:Ernest HĂ©bert
5686:
5683:
5680:
5677:
5674:
5671:
5670:Ernest HĂ©bert
5668:
5665:
5662:
5659:
5656:
5653:
5650:
5647:
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5638:
5635:
5634:Horace Vernet
5632:
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4874:0-312-22971-2
4871:
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4861:
4860:0-8109-6536-4
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4853:
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4846:0-631-22526-9
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4704:1-58839-067-5
4701:
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4690:3-8228-5314-3
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4683:
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4676:1-55670-007-5
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4574:0-86565-012-8
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4532:9780271048758
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4518:0-7287-0204-5
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4504:0-89090-036-1
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4368:
4359:
4353:, p. 78.
4352:
4351:Fleckner 2007
4347:
4340:
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4331:
4321:
4312:
4303:
4294:
4286:
4284:0-15-503769-2
4280:
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4270:
4261:
4255:, 15 May 1855
4254:
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4216:
4209:
4208:Fleckner 2007
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3770:
3763:
3762:Fleckner 2007
3758:
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3726:
3722:
3717:
3716:public domain
3703:
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3620:
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3610:
3603:
3598:
3592:(4): 491â500.
3591:
3587:
3581:
3572:
3566:, p. 96.
3565:
3564:Fleckner 2007
3560:
3553:
3547:
3538:
3529:
3522:
3517:
3508:
3502:, p. 88.
3501:
3500:Fleckner 2007
3496:
3494:
3492:
3484:
3483:Fleckner 2007
3479:
3470:
3461:
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3436:
3431:
3422:
3415:
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3401:
3394:
3389:
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3379:
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3368:, p. 66.
3367:
3366:Fleckner 2007
3362:
3353:
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3322:
3313:
3304:
3295:
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3256:
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3229:
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3214:
3213:0-9612276-0-5
3210:
3204:
3195:
3189:, p. 77.
3188:
3183:
3174:
3165:
3156:
3150:, p. 68.
3149:
3144:
3135:
3126:
3117:
3115:
3113:
3103:
3094:
3087:
3082:
3076:, p. 56.
3075:
3070:
3061:
3052:
3046:, p. 54.
3045:
3040:
3038:
3028:
3019:
3012:
3007:
2998:
2989:
2980:
2971:
2969:
2967:
2957:
2951:, p. 36.
2950:
2945:
2938:
2933:
2927:, p. 29.
2926:
2921:
2915:, p. 25.
2914:
2909:
2903:, p. 24.
2902:
2897:
2890:
2884:
2878:, p. 20.
2877:
2872:
2863:
2857:, p. 16.
2856:
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2810:
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2674:
2670:
2669:
2661:
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2644:
2639:
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2632:
2628:
2627:Self-Portrait
2622:
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2614:
2610:
2606:
2600:
2595:
2594:
2588:
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2424:
2423:Louis Lamothe
2420:
2412:
2408:
2407:
2401:
2400:Pablo Picasso
2397:
2388:
2386:
2382:
2381:Henri Lehmann
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2283:
2279:
2275:
2271:
2270:neoclassicism
2261:
2259:
2255:
2254:
2249:
2248:Kenneth Clark
2243:
2241:
2230:
2228:
2224:
2219:
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2209:
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2198:
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2181:Raymond Balze
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2045:Ădouard Manet
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2019:
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1482:Duc d'Orleans
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1449:Paul Flandrin
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904:Monte Cavallo
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678:Self-Portrait
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562:Low Countries
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527:; 1806), and
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490:Hermaphrodite
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168:
164:
163:Neoclassicism
161:
157:
150:
149:
145:
142:
141:
137:
136:
134:
128:
125:
121:
118:
114:
109:
99:
95:
90:
86:
69:
65:
52:
47:
40:
37:
33:
19:
5814:Academic art
5754:Bruno Racine
5639:
5463:Musée Ingres
5443:
5435:
5427:
5408:
5400:
5392:
5384:
5376:
5368:
5360:
5352:
5344:
5336:
5328:
5320:
5312:
5304:
5296:
5288:
5280:
5272:
5264:
5256:
5248:
5229:
5221:
5213:
5205:
5197:
5189:
5181:
5173:
5145:
5137:
5129:
5121:
5113:
5105:
5097:
5089:
5081:
5073:
5065:
5057:
5049:
5041:
5033:
5025:
5017:
5009:
5001:
4993:
4968:
4930:
4902:
4879:
4865:
4851:
4837:
4830:
4827:
4818:
4804:
4790:
4773:
4759:
4752:
4745:
4742:
4728:
4710:
4695:
4681:
4667:
4651:
4629:
4614:
4600:
4593:
4579:
4565:
4551:
4537:
4523:
4509:
4495:
4474:. Retrieved
4464:
4456:
4452:
4444:
4440:
4431:
4423:
4409:
4404:
4396:
4382:
4376:
4367:
4358:
4346:
4320:
4311:
4302:
4293:
4268:
4260:
4252:
4247:
4241:
4236:
4229:
4224:
4215:
4203:
4194:
4170:
4158:
4149:
4140:
4131:
4122:
4113:
4104:
4095:
4086:
4077:
4068:
4060:
4057:
4052:
4040:
4032:
4023:
4004:
3999:
3990:
3981:
3972:
3963:
3952:
3949:"Highlights"
3943:
3934:
3925:
3916:
3907:
3898:
3889:
3880:
3868:
3847:
3838:
3829:
3820:
3811:
3802:
3790:
3769:
3757:
3748:
3739:
3728:
3687:
3678:
3669:
3660:
3648:
3639:
3630:
3614:
3609:
3597:
3589:
3585:
3580:
3571:
3559:
3551:
3546:
3537:
3528:
3516:
3507:
3478:
3469:
3460:
3451:
3442:
3430:
3421:
3409:
3400:
3373:
3361:
3352:
3344:
3339:
3330:
3321:
3312:
3303:
3294:
3285:
3276:
3255:
3246:
3237:
3228:
3219:
3203:
3194:
3182:
3173:
3164:
3155:
3143:
3134:
3125:
3102:
3093:
3081:
3069:
3060:
3051:
3027:
3018:
3006:
2997:
2988:
2979:
2956:
2944:
2932:
2920:
2908:
2896:
2888:
2883:
2871:
2862:
2850:
2827:
2818:
2801:Parker 1926.
2797:
2778:
2758:
2739:
2722:
2701:
2683:
2665:
2648:
2626:
2604:
2580:
2566:
2539:
2534:
2532:
2527:
2518:
2498:
2494:
2486:
2463:
2456:Portrait of
2455:
2449:
2445:
2441:
2435:
2416:
2404:Portrait of
2403:
2369:
2362:
2346:
2342:
2335:
2327:
2320:
2316:
2314:
2309:
2301:
2267:
2257:
2251:
2244:
2236:
2226:
2220:
2215:
2211:
2207:
2205:
2201:Ingres paper
2190:
2186:John Canaday
2179:His student
2178:
2173:
2167:
2162:Agnes Mongan
2158:
2152:
2143:
2134:
2088:
2067:
2063:
2059:(1821), the
2056:
2052:
2049:
2040:
2032:
2023:
2002:
1985:
1968:
1948:
1928:
1924:
1920:Amaury-Duval
1917:
1894:
1888:
1880:
1869:
1867:
1862:
1858:
1852:
1848:
1844:
1840:
1832:
1827:
1823:
1821:
1806:
1778:Musée Ingres
1763:
1748:
1744:
1738:
1736:
1727:
1721:
1715:
1711:
1707:
1703:
1696:Marie Amalie
1691:
1687:
1683:
1679:
1675:
1671:
1661:
1657:
1651:
1649:
1638:
1617:
1605:
1597:
1594:
1588:
1584:
1576:
1572:
1566:
1558:
1549:Napoleon III
1542:
1536:
1524:
1516:
1498:
1477:
1471:
1469:
1458:
1437:
1429:
1415:
1374:
1354:
1348:
1346:
1334:
1323:
1311:
1307:
1297:
1295:
1290:
1281:
1257:
1255:
1247:
1230:
1226:
1220:
1218:
1209:
1195:
1185:
1169:
1163:
1156:
1150:
1148:
1140:
1124:
1113:
1104:In 1817 the
1103:
1098:
1094:
1091:Baron Taylor
1086:
1076:
1068:
1055:
1051:
1045:Aretino and
1044:
1038:
1032:
1008:
1000:
990:
984:
980:
976:
972:
957:
955:
950:
919:
913:
907:
897:
889:
871:
859:
853:
847:
827:
825:
820:
816:
815:(1811), and
812:
808:
804:
798:
796:
785:
773:
766:
756:
752:
748:
740:Villa Medici
736:
732:
723:
717:
697:
691:
681:
677:
675:
663:
651:
645:
629:
602:First Consul
583:
571:
558:Jan van Eyck
551:
533:
528:
524:
520:
516:
512:
508:
502:
497:
486:John Flaxman
478:
470:
458:
455:
448:
443:
435:
428:
418:
412:
398:
382:
352:
336:
325:
319:
313:
310:Raphaelesque
307:
300:
295:Prix de Rome
278:
260:, it is his
239:Neoclassical
188:
187:
146:
138:
131:Notable work
102:(1867-01-14)
36:
5799:1867 deaths
5794:1780 births
5712:Denys Puech
5526:Noël Coypel
5448:(1864â1865)
5405:(1851â1853)
5397:(1844â1856)
5139:The Odyssey
5054:(1814â1819)
4908:(see index)
4566:Romanticism
2744:of the Host
2631:Musée Condé
2575:portraying
2551:Franz Liszt
2513:Surrealists
2274:romanticism
1398:Franz Liszt
1278:Lithographs
1083:lithographs
1043:as well as
928:, his wife
671:Charlemagne
519:(1805â06),
366: [
343:Orientalist
171:Romanticism
167:Orientalism
5788:Categories
5652:Jean Alaux
5580:Noël Hallé
5207:The Source
4888:0789200600
4813:0500090459
4560:0719528577
4488:References
4476:20 January
4339:Jover 2005
4175:Jover 2005
4163:Jover 2005
4045:Jover 2005
3954:Cornucopia
3873:Jover 2005
3795:Jover 2005
3692:Jover 2005
3653:Jover 2005
3602:Jover 2005
3521:Jover 2005
3435:Jover 2005
3414:Jover 2005
3393:Jover 2005
3378:Jover 2005
3187:Jover 2005
3148:Jover 2005
3086:Jover 2005
3074:Jover 2005
3044:Jover 2005
3011:Jover 2005
2949:Jover 2005
2937:Jover 2005
2925:Jover 2005
2913:Jover 2005
2901:Jover 2005
2876:Jover 2005
2855:Jover 2005
2710:, New York
2577:Alice Prin
2505:Bouguereau
2477:de Kooning
2442:l'Age d'or
2413:, New York
2337:Baudelaire
2240:Baudelaire
2197:laid paper
2193:wove paper
2133:Study for
2036:Baudelaire
2011:, New York
1929:The Source
1876:hippogriff
1863:The Spring
1653:The Source
1598:Princesse
1589:Golden Age
1573:Golden Age
1518:The Source
1494:Les Halles
1308:Apotheosis
1289:exhibited
1047:Tintoretto
413:Male Torso
374:miniatures
312:painting,
266:modern art
77:1780-08-29
5505:Directors
5269:(1805â06)
5242:Portraits
4987:paintings
4660:741434100
4063:: 68â113.
3623:932376939
2668:St. Peter
2635:Chantilly
2583:with two
2372:Delacroix
2223:landscape
2169:features.
2061:Junoesque
1935:Portraits
1859:Odalisque
1817:Baltimore
1766:pneumonia
1663:Louis XIV
1465:Chantilly
1304:grisaille
1274:Charles X
1056:Death of
1028:Beethoven
938:Marcellus
688:Chaussard
667:Charles V
638:in 1802.
614:Dunkerque
355:Montauban
281:Montauban
262:portraits
89:Languedoc
85:Montauban
5210:(c 1820)
4985:History
4789:(1999).
4782:58818848
4650:(1970).
4623:23402108
4546:34554848
2781:, 1859,
2779:Angelica
2763:, 1856,
2686:, 1821,
2607:, 1801,
2461:(1906).
2446:La Danse
2409:, 1906.
2074:Drawings
2070:(1853).
2007:(1845),
1905:Plutarch
1843:and the
1836:Romantic
1720:(1856),
1642:(1858),
1585:Iron Age
1577:Iron Age
1575:and the
1384:(1835),
1262:Stendhal
1212:, 1822,
1188:Florence
1158:Philip V
1110:Holy See
1058:Leonardo
1012:Paganini
926:Augustus
842:Salmacis
838:Achilles
811:(1810),
807:(1807),
803:(1807),
790:(1808),
726:(1808),
618:Brussels
544:Pontormo
540:Bronzino
515:(1805),
494:Salmacis
482:Etruscan
385:Toulouse
246:Romantic
159:Movement
120:Painting
110:, France
91:, France
5730:Balthus
5507:of the
5456:Museums
4820:ARTnews
4588:6762670
4441:Le Pays
4253:Journal
3718::
2891:(1863).
2591:Gallery
2585:f-holes
2569:Man Ray
2509:Cubists
2501:Cabanel
2431:Matisse
2427:Picasso
2306:Raphael
1849:Oedipus
1755:Courbet
1667:MoliĂšre
1581:frescos
1413:here."
1390:Ravenna
1382:Orvieto
1176:Ariosto
1079:etching
942:Pompeii
934:Octavia
900:Miollis
763:Raphael
610:Antwerp
580:, Paris
393:Raphael
274:Matisse
270:Picasso
242:painter
230:French:
124:drawing
5774:(2009)
5768:(2008)
5762:(2002)
5756:(1997)
5750:(1994)
5744:(1985)
5738:(1977)
5732:(1961)
5726:(1937)
5720:(1933)
5714:(1921)
5708:(1913)
5702:(1905)
5696:(1891)
5690:(1885)
5684:(1879)
5678:(1873)
5672:(1867)
5666:(1866)
5660:(1853)
5654:(1847)
5648:(1841)
5642:(1835)
5636:(1829)
5630:(1823)
5624:(1816)
5618:(1807)
5612:(1807)
5606:(1792)
5600:(1787)
5594:(1781)
5588:(1775)
5582:(1775)
5576:(1751)
5570:(1738)
5564:(1737)
5558:(1725)
5552:(1704)
5546:(1699)
5540:(1684)
5534:(1675)
5528:(1673)
5522:(1666)
5440:(1858)
5432:(1806)
5413:(1859)
5389:(1848)
5381:(1845)
5373:(1842)
5365:(1832)
5357:(1826)
5349:(1826)
5341:(1823)
5333:(1814)
5325:(1814)
5317:(1811)
5309:(1810)
5301:(1807)
5293:(1806)
5285:(1806)
5277:(1806)
5261:(1805)
5253:(1804)
5234:(1863)
5226:(1848)
5218:(1842)
5202:(1814)
5194:(1809)
5186:(1808)
5178:(1807)
5150:(1854)
5142:(1850)
5134:(1840)
5126:(1834)
5118:(1827)
5110:(1824)
5102:(1821)
5094:(1819)
5086:(1818)
5078:(1817)
5070:(1815)
5062:(1814)
5046:(1813)
5038:(1813)
5030:(1812)
5022:(1812)
5014:(1811)
5006:(1808)
4998:(1801)
4886:
4880:Ingres
4872:
4858:
4844:
4811:
4797:
4780:
4766:
4760:Ingres
4737:170576
4735:
4717:
4711:Ingres
4702:
4688:
4674:
4658:
4652:Ingres
4636:
4621:
4607:
4586:
4572:
4558:
4544:
4530:
4516:
4502:
4416:
4389:
4281:
3712:
3621:
3211:
2746:, 1854
2742:Virgin
2671:, 1820
2613:Warsaw
2383:, and
2359:Pupils
2292:, and
2233:Colour
2139:(1859)
2109:(1819)
2093:(1814)
1955:Louvre
1901:Virgil
1861:, and
1759:Louvre
1732:Uffizi
1644:Uffizi
1532:Rubens
1394:Urbino
1162:, and
1115:Christ
1026:, and
1016:Mozart
958:Queen
792:Louvre
728:Louvre
620:, and
548:Louvre
177:Spouse
151:(1863)
143:(1832)
5167:Nudes
2790:Notes
2473:Kline
2419:Degas
1909:Dante
1897:Homer
1792:Style
1750:tondo
1386:Siena
1361:Autun
1330:Autun
1119:Peter
1024:Gluck
1020:Haydn
930:Livia
834:Iliad
622:Ghent
606:LiĂšge
507:with
505:Salon
421:Paris
370:]
289:Salon
285:David
108:Paris
4884:ISBN
4870:ISBN
4856:ISBN
4842:ISBN
4809:ISBN
4795:ISBN
4778:OCLC
4764:ISBN
4733:OCLC
4715:ISBN
4700:ISBN
4686:ISBN
4672:ISBN
4656:OCLC
4634:ISBN
4619:OCLC
4605:ISBN
4584:OCLC
4570:ISBN
4556:ISBN
4542:OCLC
4528:ISBN
4514:ISBN
4500:ISBN
4478:2014
4414:ISBN
4387:ISBN
4279:ISBN
3619:OCLC
3209:ISBN
2740:The
2557:and
2429:and
2272:and
2210:and
1826:(or
1726:and
1706:and
1700:Bizy
1665:and
1400:and
1392:and
1256:The
979:and
749:Prix
716:The
658:Rome
542:and
256:and
225:-grÉ
97:Died
67:Born
4275:877
3727:".
2611:in
2559:6th
2555:5th
2503:or
1868:In
1451:).
1280:of
1272:by
1174:by
1093:'s
600:as
556:by
480:in
223:ANG
5790::
4831:53
4746:83
4439:.
4422:.
4395:.
4329:^
4277:.
4182:^
4061:20
4031:,
4011:^
3951:.
3856:^
3828:.
3778:^
3699:^
3590:26
3588:,
3490:^
3385:^
3264:^
3111:^
3036:^
2965:^
2836:^
2806:^
2633:,
2475:,
2402:,
2387:.
2379:,
2288:,
2284:,
1907:,
1903:,
1899:,
1857:,
1851:,
1815:,
1780:.
1551:.
1344:.
1085::
1030:.
1022:,
1018:,
963:.
866:,
858:,
616:,
612:,
608:,
588:,
368:fr
357:,
272:,
228:;
122:,
87:,
57:c.
5497:e
5490:t
5483:v
4961:e
4954:t
4947:v
4723:.
4662:.
4642:.
4480:.
4287:.
3832:.
3625:.
1060:.
862:(
703:.
690:(
216:/
213:É
210:r
207:ÉĄ
204:Ć
201:ĂŠ
198:Ë
195:/
191:(
79:)
75:(
34:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
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