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Jean-Auguste-Dominique Ingres ([ʒɑnoɡyst dominik ɛ̃ɡʁ]; 29 August 1780 – 14 January 1867) was a French Neoclassical painter. Although he considered himself to exist a painter of history in the tradition of Nicolas Poussin and Jacques-Louis David, by the end of his life it was Ingres's portraits, both painted and fatigued, that were recognized equally his greatest legacy.

Ingres was profoundly informed by past artistic traditions, and in his career causeless the role of a guardian of academic orthodoxy confronting the dominant Romantic way, exemplified by Eugène Delacroix. His expressive distortions of grade and infinite make him an of import precursor of modern art, whose work influenced Picasso and Matisse and other modernists.

Built-in into a pocket-sized family in Montauban, he travelled to Paris to study in the studio of David. In 1802 he made his Salon debut, and won the Prix de Rome for his painting The Ambassadors of Agamemnon in the tent of Achilles. By the time he departed in 1806 for his residency in Rome, his way—revealing his close study of Italian and Flemish Renaissance masters—was fully developed, and would alter 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 menses for the history paintings he aspired to paint, but was able to support himself and his wife every bit a portrait painter and draughtsman.

He finally accomplished a smashing Salon success in 1824 with his Raphaelesque painting of the Vow of Louis Xiii, and became recognized as the leader of the Neoclassical school in France. Although commissions for history paintings freed him to paint fewer portraits, it was his portrait of Louis-François Bertin that gave him his adjacent popular success in 1833. The following year, his indignation at the harsh criticism of his aggressive composition The Martyrdom of Saint Symphorian acquired him to return to Italy, where he assumed directorship of the French Academy in Rome 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 of import portraits of women, and The Turkish Bathroom, the last of his several Orientalist paintings of the female nude, which he finished at the historic period of 83.

Early years: Montauban and Toulouse

Ingres was born in Montauban, Tarn-et-Garonne, France, the offset of 7 children (five of whom survived infancy) of Jean-Marie-Joseph Ingres (1755–1814) and his wife Anne Moulet (1758–1817). His father was a successful jack-of-all-trades in the arts, a painter of miniatures, sculptor, decorative bricklayer, and amateur musician; his mother was the about illiterate daughter of a master wigmaker. From his father the young Ingres received early encouragement and teaching in cartoon and music, and his first known drawing, a study after an antique cast, was fabricated in 1789. Starting in 1786 he attended the local school École des Frères de fifty'Éducation Chrétienne, simply his education was disrupted by the turmoil of the French Revolution, and the closing of the school in 1791 marked the end of his conventional instruction. The deficiency in his schooling would always remain for him a source of insecurity.

In 1791, Joseph Ingres took his son to Toulouse, where the young Jean-Auguste-Dominique was enrolled in the Académie Royale de Peinture, Sculpture et Architecture. At that place he studied under the sculptor Jean-Pierre Vigan, the mural painter Jean Briant, and the neoclassical painter Guillaume-Joseph Roques. Roques' veneration of Raphael was a decisive influence on the young artist. Ingres won prizes in several disciplines, such as composition, "effigy and antiquarian", and life studies. His musical talent was adult under the tutelage of the violinist Lejeune, and from the ages of 13 to 16 he played second violin in the Orchestre du Capitole de Toulouse.

From an early age he was adamant to be a history painter, which, in the hierarchy of artists 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 non want to simply make portraits or illustrations of real life like his father; he wanted to represent the heroes of religion, history and mythology, to idealize them and prove them in ways that explained their deportment, rivaling the all-time works of literature and philosophy.

In March 1797, the Academy awarded Ingres first prize in drawing, and in August he traveled to Paris to study in the studio of Jacques-Louis David, France'south—and Europe's—leading painter during the revolutionary period, in whose studio he remained for four years. Ingres followed his master'due south neoclassical example. In 1797 David was working on his enormous masterpiece, The Intervention of the Sabine Women, and was gradually modifying his style away from Roman models of rigorous realism to the ideals of purity, virtue and simplicity in Greek art. One of the other students of David, Étienne-Jean Delécluze, who later became an art critic, described Ingres as a student:

He was distinguished not just by the artlessness of his character and his disposition to work alone ... he was ane of the most studious ... he took little part in the all the turbulent follies effectually him, and he studied with more than perseverance than virtually of his co-disciples ... All of the qualities which characterize today the talent of this creative person, the finesse of contour, the true and profound sentiment of the form, and a modeling with extraordinary definiteness and compactness, could already exist seen in his early studies. While several of his comrades and David himself signaled a trend toward exaggeration in his studies, anybody was struck by his grand compositions and recognized his talent.

He was admitted to the painting department of the École des Beaux-Arts in October 1799. In 1800 and 1801, he won the grand prize for figure painting for his paintings of male torsos. In 1800 and 1801 he also competed for the Prix de Rome, the highest prize of the Academy, which entitled the winner to four years of residence at the Académie de France in Rome. He came in second in his beginning endeavour, merely in 1801 he took the top prize with The Ambassadors of Agamemnon in the tent of Achilles. The figures of the envoys, in the right of the painting, are muscular and solid every bit statues, in the way taught past David, merely the ii principal figures on the left, Achilles and Patroclus, are mobile, brilliant and svelte, like figures in a delicate bas-relief.

His residence in Rome was postponed until 1806 due to shortage of state funds. In the meantime he worked in Paris aslope several other students of David in a studio provided by the state, and further developed a style that emphasized purity of profile. He found inspiration in the works of Raphael, in Etruscan vase paintings, and in the outline engravings of the English language artist John Flaxman. His drawings of Hermaphrodite and the Nymph Salmacis showed a new stylized ideal of female beauty, which would reappear afterward in his Jupiter et Thetis and his famous nudes.

In 1802 he fabricated his debut at the Salon with Portrait of a Woman (the electric current whereabouts of which is unknown). Between 1804 and 1806 he painted a series of portraits which were striking for their extreme precision, peculiarly in the richness of their fabrics and tiny details. These included the Portrait of Philipbert Riviére (1805), Portrait of Sabine Rivière (1805–06), Portrait of Madame Aymon (also known as La Belle Zélie; 1806), and Portrait of Caroline Rivière (1805–06). The female faces were non at all detailed simply were softened, and were notable for their big oval eyes and delicate flesh colours and their rather dreamlike expressions. His portraits typically had uncomplicated backgrounds of solid nighttime or calorie-free color, or of sky. These were the first of a series that would make him amid the most celebrated portrait artists of the 19th century.

As Ingres waited to depart to Rome, his friend Lorenzo Bartolini introduced him to Italian Renaissance paintings, specially the works Bronzino and Pontormo, which Napoleon had brought back from his campaign in Italy and placed in the Louvre. Ingres alloyed their clarity and monumentality into his ain portrait style. In the Louvre were too masterpieces of Flemish art, including the Altarpiece of Ghent by January Van Eyck, which the French army had seized during its conquest of Flanders. The precision of Renaissance Flemish art became role of Ingres's manner. Ingres's stylistic eclecticism represented a new trend in art. The Louvre, newly filled with booty seized by Napoleon in his campaigns in Italy and the Low Countries, 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 equally a scholarly inquiry was brand-new. Artists and critics outdid each other in their attempts to identify, interpret, and exploit what they were simply beginning to perceive as historical stylistic developments." From the beginning of his career, Ingres freely borrowed from before art, adopting the historical style appropriate to his field of study, and was consequently defendant past critics of plundering the past.

In 1803 he received a prestigious committee, being 1 of v artists selected (along with Jean-Baptiste Greuze, Robert Lefèvre, Charles Meynier, and Marie-Guillemine Benoist) to paint full-length portraits of Napoleon Bonaparte as First Consul. These were to exist distributed to the prefectural towns of Liège, Antwerp, Dunkerque, Brussels, and Ghent, all of which were newly ceded to France in the 1801 Treaty of Lunéville. Napoleon is not known to have granted the artists a sitting, and Ingres's meticulously painted portrait of Bonaparte, Showtime Consul appears to be modelled on an paradigm of Napoleon painted by Antoine-Jean Gros in 1802.

In the summer of 1806 Ingres became engaged to Marie-Anne-Julie Forestier, a painter and musician, before leaving for Rome 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 Italia simply days earlier the opening.

Ingres painted a new portrait of Napoleon for presentation at the 1806 Salon, this 1 showing Napoleon on the Imperial Throne for his coronation. This painting was entirely different from his earlier portrait of Napoleon equally First Consul; information technology concentrated nigh entirely on the symbols of ability and the lavish regal costume that Napoleon had chosen to wear, and the symbols of power he held. The scepter of Charles V, the sword of Charlemagne the rich fabrics, furs and capes, crown of aureate leaves, golden chains and emblems were all presented in extremely precise detail; the Emperor'due south face and hands were almost lost in the regal costume.

At the Salon, his paintings—Cocky-Portrait, portraits of the Rivière family, and Napoleon I on his Regal Throne—received a very chilly reception. David delivered a severe judgement, and the critics were hostile. Chaussard (Le Pausanias Français, 1806) praised "the fineness of Ingres's brushwork and the end", just condemned Ingres'due south style as gothic and asked:

How, with so much talent, a line and then flawless, an attention to detail so thorough, has M. Ingres succeeded in painting a bad pic? The answer is that he wanted to practise something atypical, something extraordinary ... Yard. Ingres'south intention is zippo less than to make fine art backslide by four centuries, to comport us back to its infancy, to revive the style of Jean de Bruges.

Rome and the French University (1806–1811)

Newly arrived in Rome, Ingres read with mounting indignation the relentlessly negative press clippings sent to him from Paris past his friends. In letters to his prospective begetter-in-police, he expressed his outrage at the critics: "So the Salon is the scene of my disgrace; ... The scoundrels, they waited until I was away to assassinate my reputation ... I have never been then unhappy....I knew I had many enemies; I never was agreeable with them and never volition be. My greatest wish would exist 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 on why she had never married, responded, "When 1 has had the honor of being engaged to G. Ingres, one does not marry."

On 23 Nov 1806, he wrote to Jean Forestier, the male parent of his former fiancee, "Yes, art will demand to be reformed, and I intend to be that revolutionary." Characteristically, he found a studio on the grounds of the Villa Medici abroad 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 really the work of his collaborators, particularly his friend the landscape artist François-Marius Granet. As required of every winner of the Prix, he sent works at regular intervals to Paris so his progress could exist judged. Traditionally fellows sent paintings of male person Greek or Roman heroes, but for his kickoff samples Ingres sent Baigneuse à mi-corps (1807), a painting of the dorsum of a young woman bathing, based on an engraving on an antiquarian vase, and La Grande Bagneuse (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, Raphael. To satisfy the Academy in Paris, he also dispatched Oedipus and the Sphinx to testify 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 Venus Anadyomene, remained in an unfinished country for decades, to be completed forty years later and finally exhibited in 1855.

During his time in Rome He also produced numerous portraits: Madame Duvauçay, François-Marius Granet, Edme-François-Joseph Bochet, Madame Panckoucke, and that of Madame la Comtesse de Tournon, mother of the prefect of the department of the Tiber. 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.

In 1811 Ingres completed his last student do, the immense Jupiter and Thetis, a scene from the Iliad of Homer: the goddess of the Sea, Thetis, pleads with Zeus to act in favor of her son Achilles. The face of the water nymph Salmacis he had drawn years earlier reappeared as Thetis. Ingres wrote with enthusiasm that he had been planning to paint this subject area since 1806, and he intended to "deploy all of the luxury of art in its beauty". Withal, once again, the critics were hostile. Ingres was stung; the public was indifferent, and the strict classicists among his boyfriend artists looked upon him as a renegade. Only Eugène Delacroix and other pupils of Pierre-Narcisse Guérin—the leaders of that romantic move for which Ingres throughout his long life always expressed the deepest abhorrence—seem to take recognized his merits.

Although facing uncertain prospects, in 1813 Ingres married a young woman, Madeleine Chapelle, who had been recommended to him past her friends in Rome. After a courtship carried out through correspondence, he proposed to her without having met her, and she accustomed. Their matrimony was a happy one, and Madame Ingres's faith in her husband was unwavering despite the difficulties of their common beingness. He continued to suffer the indignity of disparaging reviews, as Don Pedro of Toledo Kissing Henry Four's Sword, Raphael and the Fornarina (Fogg Art Museum, Harvard University), several portraits, and the Interior of the Sistine Chapel met a by and large hostile critical response at the Paris Salon of 1814.

Rome later on the Academy and Florence (1814–1824)

Afterwards he left the Academy, a few important commissions came to him. The French governor of Rome, General Miollis, a wealthy patron of the arts, asked him to decorate rooms of the Monte Cavallo Palace, a old papal residence, for an expected visit of Napoleon. Ingres painted a large-scale Romulus' Victory Over Acron (1811) for the salon of the Empress and The Dream of Ossian (1813), based on a volume of poems that Napoleon admired, for the ceiling of the Emperor's bedchamber. General Miollis also commissioned Ingres to paint Virgil reading the Aeneid (1812) for his own residence, the villa Aldobrandini. The painting showed the moment when Virgil predicted the decease of Marcellus, the son of Livia, causing Livia to faint. The interior was precisely depicted, following the archeological finds at Pompeii. As he ofttimes did, Ingres made several versions of the same scene: a three-effigy fragment cut from an abased version is in the Royal Museums of Fine Arts of Belgium in Brussels, and in 1832 he made a drawing in vertical format as a model for a reproductive engraving past Pradier. The version Full general Miollis owned was repurchased past Ingres in the 1830s, reworked by administration nether Ingres's direction, and never finished; The Dream of Ossian was as well repurchased, modified, and left unfinished.

He traveled to Naples in the spring of 1814 to paint Queen Caroline Murat. Joachim Murat, the Male monarch of Naples, had before purchased the Dormeuse de Naples, a sleeping nude (the original is lost, just several drawings exist, and Ingres later revisited the field of study in L'Odalisque à l'esclave). Murat also commissioned two historical paintings, Raphael et la Fornarina and Paolo et Francesca, and what later on became one of Ingres'southward almost famous works, La Grande Odalisque, to accompany Dormeuse de Naples. Ingres never received payment, due to the collapse of the Murat authorities and execution of Joachim Murat in 1815. With the fall of Napoleon'due south dynasty, he found himself essentially stranded in Rome without patronage.

He continued to produce masterful portraits, both in pencil and oils, of almost photographic precision; but with the divergence of the French administration, the painting commissions were rare. During this low betoken of his career, Ingres augmented his income by cartoon pencil portraits of the many wealthy tourists, in item the English, passing through postwar Rome. For an artist who aspired to a reputation as a history painter, this seemed menial piece of 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 human being who lives here is a painter!" The portrait drawings he produced in such profusion during this period rank today among his well-nigh admired works. He is estimated to take made some five hundred portrait drawings, including portraits of his famous friends. His friends included many musicians including Paganini, and he regularly played the violin with others who shared his enthusiasm for Mozart, Haydn, Gluck, and Beethoven.

He also produced a serial of pocket-size paintings in what was known as the Troubador style, idealized portrayals of events in the Centre Ages and Renaissance. In 1815 he painted Aretino and Charles V'south Ambassador as well as Aretino and Tintoretto, an anecdotal painting whose subject field, a painter brandishing a pistol at his critic, may take been especially satisfying to the embattled Ingres. Other paintings in the same fashion included Henry Iv Playing with His Children (1817) and the Decease of Leonardo.

In 1816 Ingres produced his only etching, a portrait of the French ambassador to Rome, Monsignor Gabriel Cortois de Pressigny. The only other prints he is known to accept executed are 2 lithographs: The Four Magistrates of Besançon, made every bit an illustration for Businesswoman Taylor'southward Voyages pittoresques et romantiques dans l'ancienne France, and a copy of La Grande Odalisque, both in 1825.

In 1817 the Count of Blacas, who was ambassador of French republic to the Holy See, provided Ingres with his first official commission since 1814, for a painting of Christ Giving the Keys to Peter. Completed in 1820, this imposing work was well received in Rome merely to the creative person's chagrin the ecclesiastical authorities in that location would not allow it to be sent to Paris for exhibition.

A committee came in 1816 or 1817 from the descendants of the Fernando Álvarez de Toledo, Duke of Alva, for a painting of the Duke receiving papal honours for his repression of the Protestant Reformation. Ingres loathed the discipline—he regarded the Duke every bit one of history'due south brutes—and struggled to satisfy both the committee and his conscience. After revisions which eventually reduced the Duke to a tiny effigy in the groundwork, Ingres left the work unfinished. He entered in his diary, "J'etais forcé par la necessité 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.")

He continued to send works to the Salon in Paris, hoping to make his breakthrough in that location. In 1819 he sent his reclining nude, La Grande Odalisque, also as a history painting, Philip 5 and the Marshal of Berwick, and Roger Freeing Angelica, based on an episode in the 16th-century epic poem Orlando Furioso by Ariosto just his work was in one case over again condemned by critics every bit gothic and unnatural. The critic Kératy complained that the Grande Odalisque's dorsum was three vertebrae too long. The critic Charles Landon 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 false....it is evident that the artist deliberately erred, that he wanted to do it badly, that he believed in bringing dorsum to life the pure and primitive style 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."

In 1820 Ingres and his wife moved to Florence at the urging of the Florentine sculptor Lorenzo Bartolini, an old friend from his years in Paris. He still had to depend upon his portraits and drawings for income, only his luck began to change. His history painting Roger Freeing Angelica was purchased for the private collection of Louis 18, and was hung in the Musée du Grand duchy of luxembourg in Paris, which was newly devoted to the work of living artists. This was the first work of Ingres to enter a museum.

In 1821 he finished a painting commissioned past a childhood friend, Monsieur de Pastoret, The Entry into Paris of the Dauphin, the Future Charles 5; de Pastoret as well ordered a portrait of himself and a religious work (Virgin with the Blue Veil). 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, The Vow of Louis XIII (1824), inspired past Raphael, was purely in the Renaissance style, and depicted King Louis 13 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 information technology to the Paris Salon in October 1824, where it became the key that finally opened the door of the Paris art institution and to his career as an official painter.

Return to Paris and retreat to Rome (1824–1834)

The Vow of Louis XIII in the Salon of 1824 finally brought Ingres disquisitional success. Although Stendhal complained nearly "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 Adolphe Thiers historic the breakthrough of a new style: "Zilch is better than variety similar this, the essential character of the new style." In January 1825 he was awarded the Cross of the Légion d'honneur by Charles X, and in June 1825 he was elected to the Institute. His fame was extended further in 1826 past the publication of Sudre'south lithograph of La Grande Odalisque, which, having been scorned past artists and critics alike in 1819, now became widely pop. The 1824 Salon also brought forward a counter-electric current to the neoclassicism of Ingres: Eugène Delacroix exhibited Les Massacres de Scio, in a romantic mode sharply contrasting to that of Ingres.

The success of Ingres'due south painting led in 1826 to a major new commission, The Apotheosis of Homer, a behemothic canvass 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 piece of work in time for the 1827 Salon, only displayed the painting in grisaille. The 1827 Salon became a confrontation between the neoclassicism of Ingres's Apotheosis and a new manifesto of romanticism by Delacroix, The Decease of Sardanapalus. Ingres joined the battle with enthusiasm; he chosen 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 button dorsum."

Despite the considerable patronage he enjoyed under the Bourbon government, Ingres welcomed the July Revolution of 1830. That the outcome of the Revolution was non a republic but a ramble monarchy was satisfactory to the essentially conservative and pacifistic creative person, who in a alphabetic character to a friend in August 1830 criticized agitators who "yet want to soil and disturb the gild and happiness of a freedom so gloriously, so divinely won." Ingres'southward career was little affected, and he continued to receive official commissions and honors under the July Monarchy.

Ingres exhibited in the Salon of 1833, where his portrait of Louis-François Bertin (1832) was a item 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 big religious painting, The Martyrdom of Saint Symphorian, 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 Autun, and the iconography in the moving-picture show 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 information technology 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 1855 Paris International Exposition, but never again took part in the Salon or submitted his piece of work for public judgement. Instead, at the end of 1834 he returned to Rome to get the Director of the University of French republic.

Ingres remained in Rome for vi years. He devoted much of his attention to the training of the painting students, as he was later to do at the École des Beaux-Arts in Paris. He re-organized the Academy, increased the size of the library, added many molds of classical statues to the University collection, and assisted the students in getting public commissions in both Rome and Paris. He traveled to Orvieto (1835), Sienna (1835), and to Ravenna and Urbino to written report the paleochristian mosaics, medieval murals and Renaissance art. He devoted considerable attention to music, ane of the subjects of the academy; he welcomed Franz Liszt and Fanny Mendelssohn. He formed a long friendship with Liszt. The composer Charles Gounod, 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 Niccolò Paganini 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 Stendahl, and told him, "If this admirer ever calls once more, I am not here."

His rancor against the Paris fine art establishment for his failure at the 1834 Salon did not abate. In 1836 he refused a major committee from the French Minister of the Interior, Adolphe Thiers, to decorate the interior of the Church of the Madeleine in Paris, because the commission had been offered get-go to a rival, Paul Delaroche, who refused it. He did consummate a small number of works which he sent to patrons in Paris. One was L'Odalisque et l'esclave, (1839), a portrait of a blonde odalisque, or member of a harem, who reclines languorously while a turbaned musician plays. This fit into the popular genre of orientalism; his rival Eugène Delacroix had created a painting on a similar theme, Les Femmes d'Alger, for the 1834 Salon. The setting was inspired by Persian miniatures and was full of exotic detail, but the adult female'south long reclining form was pure Ingres. The critic Théophile Gautier wrote of Ingres's work: "It is impossible to better pigment the mystery, the silence and the suffocating temper of the seraglio." In 1842 he painted a 2d version, well-nigh identical to the first but with a landscape background (painted past his student Paul Flandrin).

The second panting he sent, in 1840, was The Illness of Antiochus (1840; too known as Aniochus and Stratonice) a history painting on a theme of love and sacrifice, a theme once painted by David in 1800, when Ingres was in his studio. Information technology was commissioned past the Duc d'Orleans, the son of King Louis Philippe I), and had very elaborate architectural groundwork designed by i of the University students, Victor Baltard, the future architect of the Paris market Les Halles. The central figure was an ethereal woman in white, whose contemplative pose with her hand on her mentum recurs in some of Ingres's female person portraits.

His painting of Aniochius and Stratonice, despite its minor 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 Rex greeted him personally at Versailles and gave him a tour 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 2 huge murals for the Château de Dampierre. In April 1841 he returned definitively to Paris.

1 of the start works executed afterwards his render to Paris was a portrait of the duc d'Orléans. Subsequently the heir to the throne was killed in a wagon accident a few months after the painting was completed in 1842, Ingres received commissions to make additional copies. He likewise received a committee to design seventeen stained glass windows for the chapel on the place where the blow occurred, and a commission for viii additional stained-drinking glass designs for Orléans chapel in Dreux. He became a professor at the Ecole des Beaux-Arts in Paris. He took his students oftentimes to the Louvre to the see the classical and Renaissance art, instructing them to look straight ahead and to avoid the works of Rubens, which he believed deviated besides far from the true values of art.

The Revolution of 1848, which overthrew Louis Philippe and created the French 2d Republic, had niggling effect on his work or his ideas. He declared that the revolutionaries were "cannibals who called themselves French", just during the Revolution completed his Vénus Anadyoméne, which he had started equally an academic written report in 1808. It represented Venus, rising from the sea which had given nativity to her, surrounded by cherubs. He welcomed the patronage of the new government of Louis-Napoleon, who in 1852 became Emperor Napoleon Iii.

In 1843 Ingres had begun the decorations of the slap-up hall in the Château de Dampierre with 2 large murals, the Gilt Age and the Iron Age, illustrating the origins of art. He made more than than five hundred preparatory drawings, and worked on the enormous project for half-dozen years. In an attempt to imitate the result of Renaissance frescos, he chose to paint the murals in oil on plaster, which created technical difficulties. Work on the Atomic number 26 Age never progressed beyond the architectural groundwork painted by an assistant. Meanwhile, the growing crowd of nudes in the Gilt Historic period discomfited Ingres's patron, the Duc de Luynes, and Ingres suspended piece of 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 souvenir of his artwork to his native city of Montauban, and in October he resigned as professor at the École des Beaux-Arts.

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 pregnant works, including the portrait of Princesse Albert de Broglie, née Joséphine-Eléonore-Marie-Pauline de Galard de Brassac de Béarn. In 1853 he began the Embodiment of Napoleon I, for the ceiling of a hall in the Hôtel de Ville, Paris. (It was destroyed in May 1871 when the Paris Commune prepare fire to the edifice.) With the help of assistants, in 1854 he completed another history painting, Joan of Arc at the Coronation of Charles 7. In 1855 A retrospective of his works was featured at the Paris Universal Exposition of 1855, and in the same twelvemonth Napoleon Three named him a Grand Officer of the Légion d'honneur. In 1862 he was awarded the championship of Senator, and fabricated a member of the Imperial Quango on Public Instruction. Iii of his works were shown in the London International Exhibition, and his reputation as a major French painter was confirmed once more.

He continued to rework and refine his classic themes. In 1856 Ingres completed The Source (The Jump), a painting begun in 1820 and closely related to his Venus Anadyoméne. He painted ii versions of Louis XIV and Molière (1857 and 1860), and produced variant copies of several of his earlier compositions. These included religious works in which the effigy of the Virgin from The Vow of Louis Thirteen was reprised: The Virgin of the Adoption of 1858 (painted for Mademoiselle Roland-Gosselin) was followed by The Virgin Crowned (painted for Madame la Baronne de Larinthie) and The Virgin with Child. In 1859 he produced new versions of The Virgin of the Host, and in 1862 he completed Christ and the Doctors, a work commissioned many years earlier by Queen Marie Amalie for the chapel of Bizy. He painted small-scale replicas of Paolo and Francesca and Oedipus and the Sphinx. In 1862 he completed a minor oil-on-paper version of The Gilt Age. The concluding of his important portrait paintings date from this flow: Marie-Clothilde-Inés de Foucauld, Madame Moitessier, Seated (1856), Self-Portrait at the Age of Seventy-eight and Madame J.-A.-D. Ingres, née Delphine Ramel, both completed in 1859. At the asking of the Uffizi Gallery of Florence, he made his own-self portrait in 1858. The only color in the painting is the scarlet of his rosette of the Legion of Award.

Most the end of his life, he made ane of his best-known masterpieces, The Turkish Bath. It reprised a figure and theme he had been painting since 1828, with his Petite Baigneuse. Originally completed in a square format in 1852 and sold to Prince Napoleon in 1859, it was returned to the creative person before long after—according to a legend, Princess Clothilde was shocked past the abundant nudity. Later on reworking the painting equally a tondo, Ingres signed and dated information technology in 1862, although he made additional revisions in 1863. The painting was somewhen purchased past a Turkish diplomat, Khalid Bey, who owned a large collection of nudes and erotic art, including several paintings by Courbet. The painting continued to cause a scandal long after Ingres was dead. It was initially offered to the Louvre in 1907, but was rejected, before beingness given to the Louvre in 1911.

Ingres died of pneumonia on 14 January 1867, at the historic period of 80-vi, in his flat on the Quai Voltaire in Paris. He is interred in the Père Lachaise Cemetery in Paris with a tomb sculpted by his student Jean-Marie Bonnassieux. 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 Musée Ingres.

Ingres'due south style was formed early in life and inverse comparatively petty. His primeval drawings, such equally the Portrait of a Human being (or Portrait of an unknown, iii 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 outset, his paintings are characterized by a compactness of outline reflecting his often-quoted conviction that "cartoon is the probity of art". He believed color to be no more than an accessory to drawing, explaining: "Drawing is non just reproducing contours, it is not just the line; drawing is too the expression, the inner course, the composition, the modelling. See what is left subsequently that. Cartoon is seven eighths of what makes upward painting."

The art historian Jean Clay said Ingres "proceeded always from finality to certitude, with the consequence that even his freest sketches reveal the same kind of execution as that found in the last works." Abhorring the visible brushstroke, Ingres made no recourse to the shifting effects of colour and low-cal on which the Romantic school depended; he preferred local colours simply faintly modelled in light by half tones. "Ce que l'on sait," he would echo, "il faut le savoir fifty'épée à la main." ("Whatever you know, you must know information technology with sword in hand.") Ingres thus left himself without the means of producing the necessary unity of effect when dealing with crowded compositions, such as the Apotheosis of Homer and the Martyrdom of Saint Symphorian. Among Ingres'south historical and mythological paintings, the virtually satisfactory are usually those depicting one or two figures, such as Oedipus, The Half-Length Bather, Odalisque, and The Leap, subjects but animated by the consciousness of perfect physical well-being.

In Roger Freeing Angelica, the female figure shows the finest qualities of Ingres's work, while the effigy of Roger flying to the rescue on his hippogriff sounds a jarring note, for Ingres was rarely successful in the depiction of motility and drama. According to Sanford Schwartz, the "historical, mythological, and religious pictures bespeak huge amounts of free energy and manufacture, but, conveying fiddling palpable sense of inner tension, are costume dramas ... The faces in the history pictures are essentially those of models waiting for the session to be over. When an emotion is to be expressed, it comes across stridently, or woodenly."

Ingres was averse to theories, and his fidelity to classicism—with its emphasis on the ideal, the generalized, and the regular—was tempered by his love of the particular. He believed that "the secret of dazzler has to exist found through truth. The ancients did non create, they did non make; they recognized." In many of Ingres'south works there is a collision between the idealized and the particular that creates what Robert Rosenblum termed an "oil-and-water sensation". This contradiction is bright in Cherubini and the Muse of Lyric Poesy (1842), for example, in which the detailed rendering of the 81-year-onetime composer is juxtaposed with an idealized muse in classical drapery.

Ingres's pick of subjects reflected his literary tastes, which were severely limited: he read and reread Homer, Virgil, Plutarch, Dante, histories, and the lives of the artists. Throughout his life he revisited a pocket-sized 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 by and large preferred to depict "moments of revelation or intimate decision manifested by meeting or confrontation, but never past violence." His numerous odalisque paintings were influenced to a neat extent past the writings of Mary Wortley Montagu, the wife of the ambassador to Turkey whose diaries and letters, when published, fascinated European society.

Although capable of painting quickly, he often laboured for years over a painting. Ingres'south student Amaury-Duval wrote of him: "With this facility of execution, 1 has problem explaining why Ingres' oeuvre is not yet larger, only he scraped out [his work] oft, never existence satisfied ... and perhaps this facility itself made him rework whatsoever dissatisfied him, certain that he had the power to repair the fault, and quickly, as well." The Source, although dated 1856, was painted about 1820, except for the head and the extremities; Amaury-Duval, who knew the work in its incomplete state, professed that the after-painting, necessary to fuse new and old, lacked the vigour and precision of touch that distinguished the original execution of the torso.

While Ingres believed that history painting was the highest form of art, his modern reputation rests largely upon the infrequent quality of his portraits. Past the time of Ingres's retrospective at the Exposition Universelle in 1855, an emerging consensus viewed his portrait paintings as his masterpieces. Their consistently high quality belies Ingres's oftentimes-stated complaint that the demands of portraiture robbed him of time he could have spent painting historical subjects. Baudelaire chosen him "the sole homo in France who truly makes portraits. The portraits of Yard. Bertin, Thou. Molé and Mme d'Haussonville are true portraits, that is, the platonic reconstruction of individuals....A good portrait seems to me always as a biography dramatized." His most famous portrait is that of Louis-François Bertin, the chief editor of the Journal des Debats, which was widely admired when it was exhibited at the 1833 Salon. Ingres had originally planned to paint Bertin standing, but many hours of endeavor ended in a artistic impasse before he decided on a seated pose. Édouard Manet described the resulting portrait equally "The Buddha of the Suburbia". The portrait quickly became a symbol of the ascent economic and political power of Bertin's social class.

For his female portraits, he ofttimes posed the field of study later 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 drove. Another play a trick on that Ingres used was paint the fabrics and details in the portraits with extreme precision and accuracy, simply to idealize the face up. The eye of the viewer would perceive the fabrics as realistic and would assume the face was every bit true. His portraits of women range from the warmly sensuous Madame de Senonnes (1814) to the realistic Mademoiselle Jeanne Gonin (1821), the Junoesque Marie-Clothilde-Inés de Foucauld, Madame Moitessier (portrayed standing and seated, 1851 and 1856), and the chilly Joséphine-Eléonore-Marie-Pauline de Galard de Brassac de Béarn, Princesse de Broglie (1853).

Drawing was the foundation of Ingres'due south art. In the Ecole des Beaux-Arts he excelled at figure drawing, winning the meridian prizes. During his years in Rome and Florence, he made hundreds of drawings of family unit, friends, and visitors, many of them of very loftier portrait quality. He never began a painting without first resolving the cartoon, unremarkably 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 every bit he tried unlike poses. He demanded that his students at the Academy and the Ecole des Beaux-Arts perfect their cartoon before anything else; a painting for him was simply a drawing with colour added. He alleged: "The cartoon is the truth of fine art."

His portrait drawings, of which about 450 are extant, are today among his most admired works. While a asymmetric number of them date from his difficult early on years in Italian republic, he continued to produce portrait drawings of his friends until the stop of his life. Agnes Mongan has written of the portrait drawings:

Before his divergence in the autumn of 1806 from Paris for Rome, the familiar characteristics of his drawing style were well established, the fragile all the same firm profile, the definite yet discreet distortions of form, the about uncanny capacity to seize a likeness in the precise yet lively depiction of features.

The preferred materials were also already established: the sharply pointed graphite pencil on a polish white newspaper. So familiar to us are both the materials and the mode that we forget how extraordinary they must have seemed at the time ... Ingres' way of drawing was as new as the century. It was immediately recognized as skilful and admirable. If his paintings were sternly criticized as "Gothic," no comparable criticism was leveled at his drawings.

His pupil Raymond Balze described Ingres'due south working routine in executing his portrait drawings, each of which required four hours, every bit "an hour and a one-half in the morning time, so two-and-a-half hours in the afternoon, he very rarely retouched it the adjacent twenty-four hours. He frequently told me that he got the essence of the portrait while lunching with the model who, off guard, became more natural." The resulting drawings, according to John Canaday, revealed the sitters' personalities by means and so subtle—and and then costless of cruelty—that Ingres could "expose the vanities of a fop, a airheaded adult female, or a windbag, in drawings that delighted them."

Ingres drew his portrait drawings on wove paper, which provided a smooth surface very different from the ribbed surface of laid paper (which is, withal, sometimes referred to today every bit "Ingres paper").

Drawings fabricated in preparation for paintings, such as the many studies for The Martyrdom of St. Symphorian and The Golden Age, are more than varied in size and treatment than are the portrait drawings. It was his usual practise 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 oftentimes used female models when testing poses for male figures, equally he did in drawings for Jesus Amidst the Doctors. Nude studies exist fifty-fifty for some of his commissioned portraits, only these were drawn using hired models.

Ingres drew a number of mural views while in Rome, but he painted only ane pure mural, the small tondo Raphael's Casino (although two other small landscape tondos are sometimes attributed to him).

For Ingres, color played an entirely secondary role in fine art. He wrote, "Colour adds ornament to a painting; but it is nothing just the handmaiden, because all information technology does is to render more agreeable the truthful perfections of the art. Rubens and Van Dyck can be pleasing at first sight, but they are deceptive; they are from the poor school of colourists, the school of deception. Never apply bright colours, they are anti-historic. It is better to autumn into gray than to into bright colours." The Plant 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 Baudelaire observed: "the students of M. Ingres have very uselessly avoided any semblance of color; they believe or pretend to believe that they are not needed in painting."

Ingres's own paintings vary considerably in their use of colour, and critics were apt to fault them equally likewise grey or, contrarily, as well jarring. Baudelaire—who said "Thousand. Ingres adores colour like a fashionable milliner"—wrote of the portraits of Louis-François Bertin and Madame d'Haussonville: "Open up your optics, nation of simpletons, and tell us if yous ever saw such dazzling, eye-communicable painting, or fifty-fifty a greater elaboration of color". Ingres'south paintings are ofttimes characterized by strong local colours, such as the "acrid blues and bottle greens" Kenneth Clark professed to "perversely enjoy" in La Grande Odalisque. In other works, especially in his less formal portraits such equally the Mademoiselle Jeanne-Suzanne-Catherine Gonin (1821), colour is restrained.

Ingres and Delacroix

Ingres and Eugène Delacroix became, in the mid-19th century, the most prominent representatives of the two cracking competing schools of art in France, neoclassicism and romanticism. Neo-classicism was based in big part on the philosophy of Johann Joachim Winckelmann (1717–1768), who wrote that fine art should embody "noble simplicity and at-home grandeur". Many painters followed this course, including Francois Gerard, Antoine-Jean Gros, Anne-Louis Girodet, and Jacques-Louis David, 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 information technology described equally "gothic" and "archaic". The Romanticists in French painting were led by Theodore Gericault and especially Delacroix. The rivalry beginning emerged at the Paris Salon of 1824, where Ingres exhibited The Vow of Louis XIII, inspired past Raphael, while Delacroix showed The Massacre at Chios, depicting a tragic effect in the Greek Civil War. Ingres's painting was calm, static and carefully synthetic, while the work of Delacroix was turbulent, total of motion, colour, and emotion.

The dispute between the two painters and schools reappeared at the 1827 Salon, where Ingres presented L'Apotheose d'Homer, an example of classical residual and harmony, while Delacroix showed The Decease of Sardanapalus, another glittering and tumultuous scene of violence. The duel between the two painters, each considered the best of his school, connected 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 fourth dimension.

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 Brothers Goncourt described "the miserly talent" of Ingres: "Faced with history, Yard. 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 higher demands. He scatters persons around the middle of the action ... tosses here and there an arm, a leg, a head perfectly fatigued, and thinks that his job is washed..."

Baudelaire besides, previously sympathetic toward Ingres, shifted toward Delacroix. "Yard. Ingres tin be considered a homo gifted with high qualities, an eloquent evoker of dazzler, only deprived of the energetic temperament which creates the fatality of genius."

Delacroix himself was merciless toward Ingres. Describing the exhibition of works by Ingres at the 1855 Exposition, he called it "ridiculous ... presented, every bit one knows, in a rather pompous fashion ... It is the consummate expression of an incomplete intelligence; effort and pretention are everywhere; nowhere is there found a spark of the natural."

Ingres was a conscientious instructor and was greatly admired by his students. The all-time known of them is Théodore Chassériau, who studied with him from 1830, equally a precocious xi-year-erstwhile, until Ingres closed his studio in 1834 to return to Rome. Ingres considered Chassériau his truest disciple—fifty-fifty predicting, according to an early biographer, that he would be "the Napoleon of painting". By the fourth dimension Chassériau visited Ingres in Rome in 1840, however, the younger artist's growing allegiance to the romantic style of Delacroix was apparent, leading Ingres to disown his favourite student, of whom he afterward spoke rarely and censoriously. No other creative person who studied under Ingres succeeded in establishing a strong identity; amidst the most notable of them were Jean-Hippolyte Flandrin, Henri Lehmann, and Eugène Emmanuel Amaury-Duval.

Ingres's influence on later generations of artists was considerable. One of his heirs was Degas, who studied under Louis Lamothe, a minor disciple of Ingres. In the 20th century, his influence was even stronger. Picasso and Matisse were amid those who best-selling a debt to Ingres; Matisse described him equally the start painter "to use pure colours, outlining them without distorting them." The limerick of paintings, bringing the figures to the foreground and eliminating the traditional depth and perspective of 19th-century paintings, and flattening the figures presenting them "like the figures in a deck of cards", were new and startling effects, which were criticized in the 19th century but welcomed by the avant-garde in the 20th century.

An important retrospective of works past 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 get-go fourth dimension in public, had a visible influence on the composition and poses of the figures in Picasso's Les Demoiselles d'Avignon in 1907. The exhibit too included many of his studies for the unfinished mural l'Age d'or, including a striking cartoon of women gracefully dancing in a circle. Matisse produced his own version on this limerick in his painting La Danse in 1909. The particular pose and colouring of Ingres's Portrait of Monsieur Bertin likewise fabricated a reappearance in Picasso'southward Portrait of Gertrude Stein (1906).

Barnett Newman credited Ingres as a progenitor of abstract expressionism, explaining: "That guy was an abstract painter ... He looked at the canvas more than oftentimes than at the model. Kline, de Kooning—none of us would have existed without him."

Pierre Barousse, the curator of the Musée Ingres, wrote:

...Ane realizes in how many means a variety of artists claim him as their master, from the nearly plainly conventional of the nineteenth century such every bit Cabanel or Bouguereau, to the nigh 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 ain means; an mental attitude fundamentally different to that of David ... there results a truly personal and unique art admired equally much by the Cubists for its plastic autonomy, as past the Surrealists for its visionary qualities.

Ingres'southward well-known passion for playing the violin gave rise to a common expression in the French language, "violon d'Ingres", meaning a second skill beyond the one by which a person is mainly known.

Ingres was an amateur violin actor from his youth, and played for a fourth dimension as second violinist for the orchestra of Toulouse. When he was Director of the French University in Rome, he played frequently with the music students and guest artists. Charles Gounod, who was a student under Ingres at the Academy, just noted that "he was not a professional, even less a virtuoso". Along with the pupil musicians, he performed Beethoven cord quartets with Niccolò Paganini. In an 1839 letter, Franz Liszt described his playing as "mannerly", and planned to play through all the Mozart and Beethoven violin sonatas with Ingres. Liszt besides dedicated his transcriptions of the 5th and 6th symphonies of Beethoven to Ingres on their original publication in 1840.

The American advanced artist Man Ray used this expression as the title of a famous photograph portraying Alice Prin (aka Kiki de Montparnasse) in the pose of the Valpinçon Bather.

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Source: https://alchetron.com/Jean-Auguste-Dominique-Ingres

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