Jean Auguste Dominique Ingres 48030 222847098 2008-07-01T12:04:10Z JAnDbot 1725149 robot Modifying: [[fa:ژان اگوست دومینیک انگر]] {{Infobox Artist | bgcolour = #EEDD82 | name = Jean Auguste Dominique Ingres | image = Ingres, Self-portrait.jpg | imagesize = 180px | caption = ''Self-portrait at age twenty-four'', 1804 (revised ca. 1850), oil on canvas, 78 x 61 cm, Musée Condé. | birthname = Jean Auguste Dominique Ingres | birthdate = {{birth date|1780|8|24|mf=y}} | location = [[Tarn-et-Garonne]], [[France]] | deathdate = {{death date and age|1867|1|14|1780|8|24|mf=y}} | deathplace = [[Paris]], [[France]] | nationality = | field = [[Painting]], [[Drawing]] | training = | movement = [[Neoclassicism]] | works = ''Louis-François Bertin'', 1832<br>''The Turkish Bath'', 1862 | patrons = | awards = }} '''Jean Auguste Dominique Ingres''' ({{pronounced|ɛ̃ːɡʁ}}) ([[August 29]], [[1780]] – [[January 14]], [[1867]]) was a [[France|French]] [[Neoclassicism|Neoclassical]] [[painter]]. Although he considered himself a [[History painting|painter of history]] in the tradition of [[Nicolas Poussin]] and [[Jacques-Louis David]], by the end of his life it was Ingres' [[portrait]]s, both painted and drawn, that were recognized as his greatest legacy. A man profoundly respectful of the past, he assumed the role of a guardian of academic orthodoxy against the ascendant [[Romanticism (art)|Romantic]] style represented by his nemesis [[Eugène Delacroix]]. His exemplars, he once explained, were "the great masters which flourished in that century of glorious memory when [[Raphael]] set the eternal and incontestable bounds of the sublime in art ... I am thus a ''conservator'' of good doctrine, and not an ''innovator''."<ref>Condon, et al., 1983, p. 14.</ref> Nevertheless, modern opinion has tended to regard Ingres and the other Neoclassicists of his era as embodying the Romantic spirit of his time,<ref>Turner, 2000, p. 237.</ref> while his expressive distortions of form and space make him an important precursor of [[modern art]]. ==Life== [[Image:Ingres, Napoleon on his Imperial throne.jpg|left|thumb|150px|''[[Napoleon I of France|Napoleon]] on his Imperial Throne'', 1806, oil on canvas, 260 x 163 cm, [[Musée de l'Armée]], Paris]] ===Early years=== Ingres was born in [[Montauban]], [[Tarn-et-Garonne]], [[France]], the first of seven 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 [[Portrait miniature|miniatures]], 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.<ref>Arikha, 1986, p. 103.</ref> Starting in 1786 he attended the local school, Ecole des Frères de l'Education Chrétienne, but 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 education. The deficiency of his schooling would always remain for him a source of insecurity.<ref>Tinterow, Conisbee et al., 1999, pp. 25, 280.</ref> 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. There he studied under the sculptor Jean-Pierre Vigan, the landscape painter Jean Briant, and—most importantly—the painter [[Joseph Roques]], who imparted to the young artist his veneration of [[Raphael]].<ref>Prat, 2004, p. 15.</ref> Ingres's musical talent was further developed under the tutelage of the violinist Lejeune. From the ages of thirteen to sixteen he was second violinist in the Orchestre du Capitole de Toulouse, and he would continue to play the violin as an [[avocation]] for the rest of his life. ===In Paris=== Having been awarded first prize in drawing by the Academy, in August 1797 he traveled to [[Paris]] to study with [[Jacques-Louis David]], France's—and Europe's—leading painter during the revolutionary period, in whose studio he remained for four years. Ingres followed his master's neoclassical example but revealed, according to David, "a tendency toward exaggeration in his studies."<ref>Tinterow, Conisbee et al., 1999, p. 31.</ref> He was admitted to the Painting Department of the [[École des Beaux-Arts]] in October 1799, and won, after tying for second place in 1800, the ''Grand [[Prix de Rome]]'' in 1801 for his ''Ambassadors of [[Agamemnon]] in the tent of [[Achilles]]''. His trip to Rome, however, was postponed until 1806, when the financially strained government finally appropriated the travel funds. [[Image:Ingre, Grande Odalisque.jpg|right|thumb|230px|''[[La Grande Odalisque]]'', 1814, oil on canvas, 91 x 162 cm, [[Louvre]]. The subject's elongated proportions, reminiscent of 16th-century [[Mannerism|Mannerist]] painters, reflect Ingres's search for the pure form of his model]] Working in Paris alongside several other students of David in a studio provided by the state, he further developed a style that emphasized purity of contour. He found inspiration in the works of Raphael, in [[Etruscan civilization|Etruscan]] vase paintings, and in the outline engravings of the English artist [[John Flaxman]].<ref>Mongan and Naef, 1967, p. xix.</ref> In 1802 he made his debut at the [[Paris Salon|Salon]] with ''Portrait of a Woman'' (whose current whereabouts are unknown). The following year brought a prestigious commission, when Ingres was one of five artists selected (along with [[Jean-Baptiste Greuze]], Robert Lefévre, Charles Meynier, and [[Marie-Guillemine Benoist]]) to paint full-length portraits of [[Napoleon I of France|Napoleon Bonaparte]] as [[First Consul]]. These were to be 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]].<ref>Tinterow, Conisbee et al., 1999, p. 46.</ref> 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 Italy just days before the opening.<ref> Cohn and Siegfried, 1980, p. 22.</ref> At the Salon, his paintings—''Self-Portrait'', portraits of the Rivière family, and ''Napoleon I on his Imperial Throne''—produced a disturbing impression on the public, due not only to Ingres's stylistic idiosyncrasies but also to his adoption of [[Carolingian]] imagery in representing Napoleon.<ref>Tinterow, Conisbee et al., 1999, p. 68.</ref> David delivered a severe judgement,<ref>Arikha, 1986, p. 103.</ref> and the critics were uniformly hostile, finding fault with the strange discordances of colour, the want of sculptural relief, the chilly precision of contour, and the self-consciously archaic quality. Chaussard (''Le Pausanias Français'', 1806) condemned Ingres's style as gothic and asked: <blockquote>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 centuries, to carry us back to its infancy, to revive the manner of [[Jan van Eyck|Jean de Bruges]].<ref>Quoted and translated in Tinterow, Conisbee et al., 1999, p. 70.</ref></blockquote> 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."<ref> Condon, et al., 1983, p. 13.</ref> The [[Louvre]], newly filled with booty seized by Napoleon in his campaigns in [[Belgium]], [[Holland]], and [[Italy]], provided French artists of the early nineteenth century with an unprecedented opportunity to study, compare, and copy masterworks from antiquity and from the entire history of European painting.<ref>Tinterow, Conisbee et al., 1999, p. 27.</ref> From the beginning of his career, Ingres freely borrowed from earlier art, adopting the historical style appropriate to his subject, leading critics to charge him with plundering the past. 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 waited until I was away to assassinate my reputation....I have never been so unhappy." He vowed never again to exhibit at the Salon, and his refusal to return to Paris led to the breaking up of his engagement.<ref>Tinterow, Conisbee et al., 1999, p. 546.</ref> 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."<ref>Tinterow, Conisbee et al., 1999, p. 75.</ref> [[Image:Ingres, Madame Riviere.jpg|thumb|200px|left|''Madame Rivière'', 1806, oil on canvas, 116.5 x 81.7 cm, [[Louvre]]]] ===In Rome=== Installed in a studio on the grounds of the Villa Medici, Ingres continued his studies and, as required of every winner of the ''Prix'', he sent works at regular intervals to Paris so his progress could be judged. As his ''envoi'' of 1808 Ingres sent ''[[Oedipus]] and the [[Sphinx]]'' and the ''Valpinçon Bather'' (both now in the [[Louvre]]), hoping by these two paintings to demonstrate his mastery of the male and female nude, but they were poorly received.<ref>Condon et al., 1983, p. 38</ref> In later years Ingres painted variants of both compositions; another nude begun in 1807, the ''Venus Anadyomene'', remained in an unfinished state for decades, to be completed forty years later and finally exhibited in 1855. He produced numerous portraits during this period: ''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 finished his final student exercise, the immense ''[[Jupiter (mythology)|Jupiter]] and [[Thetis]]'', which was once again harshly judged in Paris. Ingres was stung; the public was indifferent, and the strict [[classicism|classicist]]s among his fellow artists looked upon him as a renegade. Only [[Eugène Delacroix]] and other pupils of [[Pierre-Narcisse Guérin]]—the leaders of that romantic movement for which Ingres throughout his long life always expressed the deepest abhorrence—seem to have recognized his merits. Although facing uncertain prospects, in 1813 Ingres married a young woman, Madeleine Chapelle, who had been recommended to him by her friends in Rome. After a courtship carried out through correspondence, he proposed to her without having met her, and she accepted. Their marriage was a happy one, and Madame Ingres acquired a faith in her husband which enabled her to combat with courage and patience the difficulties of their common existence. He continued to suffer the indignity of disparaging reviews, as ''Don Pedro of Toledo Kissing the Sword of [[Henry IV of France|Henry IV]]'', ''Raphael and the Fornarina'' ([[Fogg Art Museum]], [[Harvard University]]), several portraits, and the ''Interior of the [[Sistine Chapel]]'' met a generally hostile critical response at the [[Paris Salon]] of 1814.<ref>Mongan and Naef, 1967, p xx.</ref> A few important commissions came to him; the French governor of Rome asked him to paint ''[[Virgil]] reading the [[Aeneid]]'' (1812) for his residence, and to paint two colossal works—''[[Romulus]]'s victory over Acron'' (1812) and ''The Dream of Ossian'' (1813)—for [[Monte Cavallo]], a former Papal residence undergoing renovation to become Napoleon's Roman palace. These paintings epitomized, both in subject and scale, the type of painting with which Ingres was determined to make his reputation, but, as Philip Conisbee has pointed out, "for all the high ideals that had been drummed into Ingres at the academies in Toulouse, Paris, and Rome, such commissions were exceptions to the rule, for in reality there was little demand for history paintings in the grand manner, even in the city of Raphael and Michelangelo."<ref>Tinterow, Conisbee et al., 1999, p. 106.</ref> Art collectors preferred "light-hearted mythologies, recognizable scenes of everyday life, landscapes, still lifes, or likenesses of men and women of their own class. This preference persisted throughout the nineteenth century, as academically oriented artists waited and hoped for the patronage of state or church to satisfy their more elevated ambitions."<ref>Tinterow, Conisbee et al., 1999, p. 26.</ref> Ingres traveled to Naples in the spring of 1814 to paint ''Queen [[Caroline Bonaparte|Caroline Murat]]'', and the Murat family ordered additional portraits as well as three modestly-scaled works: ''The Betrothal of Raphael'', ''[[La Grande Odalisque]]'', and ''Paolo and Francesca''. He never received payment for these paintings, however, due to the collapse of the [[Joachim Murat|Murat]] regime in 1815; with the fall of Napoleon's dynasty, he found himself essentially stranded in Rome without patronage. During this low point of his career, Ingres was forced to depend for his livelihood on the execution, in pencil, of small portrait drawings of the many 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!"<ref>Tinterow, Conisbee et al., 1999, p. 111.</ref> Nevertheless, the portrait drawings he produced in such profusion during this period are of outstanding quality, and rank today among his most admired works. Mining the vein of the small-scale historical [[Genre works|genre]] piece, in 1815 he painted ''[[Pietro Aretino|Aretino]] and the Envoy of [[Charles V of France|Charles V]]'' as well as ''Aretino and [[Tintoretto]]'', an anecdotal painting whose subject, a painter brandishing a pistol at his critic, may have been especially satisfying to the embattled Ingres.<ref>Condon, et al., 1983, p. 12.</ref> In 1817 he painted ''Henry IV Playing with His Children'', and in the following year the ''Death of [[Leonardo da Vinci|Leonardo]]''. In 1817 the [[Pierre Louis Jean Casimir de Blacas|Comte de Blacas]], who was ambassador of France to the [[Holy See]], provided Ingres with his first official commission since 1814, for a painting of ''[[Christ]] Giving the Keys to [[Saint Peter|Peter]]''. 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. A commission came in 1816 or 1817 from the family of the celebrated [[Fernando Álvarez de Toledo, Duke of Alva]], for a painting of the Duke receiving papal honors for his repression of the [[Protestant Reformation]]. Ingres, despite his distaste for the subject and his loathing for the man he described as "cet horrible homme", made sketches for this project which reveal his attempt to fulfill the commission while conveying his disapproval.<ref>Condon, et al., 1983, p. 86.</ref> Finally he abandoned the task and 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.") During this period, Ingres formed friendships with musicians including [[Niccolò Paganini|Paganini]], and regularly played the violin with others who shared his enthusiasm for [[Wolfgang Amadeus Mozart|Mozart]], [[Joseph Haydn|Haydn]], [[Christoph Willibald Gluck|Gluck]], and [[Ludwig van Beethoven|Beethoven]].<ref>Arikha, 1986, p. 104.</ref> The works he sent to the 1819 Salon were ''[[La Grande Odalisque]]'', ''[[Philip V]] and the Marshal of Berwick'', and ''Roger Freeing Angelica'', which were once again attacked as "gothic".<ref>Cohn and Siegfried, 1980, pp. 22–23.</ref> ===In Florence=== Ingres and his wife moved to [[Florence]] in 1820 at the urging of the Florentine sculptor Bartolini, an old friend from his years in Paris, who hoped that Ingres would improve his position materially, but Ingres, as before, had to rely on his drawings of tourists and diplomats for support. His friendship with Bartolini, whose worldly success in the intervening years stood in sharp contrast to Ingres's poverty, quickly became strained, and Ingres found new quarters.<ref>Cohn and Siegfried, 1980, pp. 23, 114</ref> In 1821 he finished a painting commissioned by a childhood friend, Monsieur de Pastoret, the ''Entry of Charles V into Paris''; de Pastoret also ordered a portrait of himself and a religious work (''Virgin with the Blue Veil''). The major undertaking of this period, however, was a commission obtained in August 1820 with the help of de Pastoret, to paint the ''Vow of [[Louis XIII of France|Louis XIII]]'' for the Cathedral of Montauban. Recognizing this as an opportunity to establish himself as a painter of history, he spent four diligent years bringing the large canvas to completion, and he travelled to Paris with it in October of 1824. [[Image:Louis-Francois Bertin.jpg|right|thumb|200px|''Louis-François Bertin'', 1832, oil on canvas, 116 x 96 cm, Louvre]] ===Triumphal return to Paris and angry retreat to Rome=== The ''Vow of Louis XIII'', exhibited at the Salon of 1824, finally brought Ingres critical success. Conceived in a [[Raphael]]esque style relatively free of the archaisms for which he had been reproached in the past, it was admired even by strict Davidians. Ingres found himself celebrated throughout France; in January 1825 he was awarded the Cross of the [[Legion of Honor]], and in June 1825 he was elected to the Institute. His fame was extended further in 1826 by the publication of Sudre's [[lithograph]] of ''La Grande Odalisque'', which, having been scorned by artists and critics alike in 1819, now became widely popular. A commission from the government called forth the monumental ''Apotheosis of [[Homer]]'', which Ingres eagerly finished in a year's time. From 1826 to 1834 the studio of Ingres was thronged, and he was a recognized ''chef d'école'' who taught with authority and wisdom while working steadily. The critics came to regard Ingres as the standard-bearer of classicism against the romantic school<ref>Siegfried, S. L., & Rifkin, A., 2001, p. 78–81</ref>—a role he relished. The paintings, primarily portraits, that he sent to the Salon in 1827 and 1833 were well received. The portrait of ''[[Louis-François Bertin]]'' (1832) was a particular success with the public, who found its realism spellbinding, although some of the critics found its naturalism vulgar and its coloring drab. The thin-skinned artist was outraged, however, by the criticism of his ambitious canvas of the ''Martyrdom of Saint Symphorien'' (cathedral of [[Autun]]), shown in the Salon of 1834. Resentful and disgusted, Ingres resolved never again to work for the public, and gladly availed himself of the opportunity to return to Rome, as director of the École de France, in the room of [[Horace Vernet]]. There, although the time he spent in administrative duties slowed the flow of paintings from his brush, he executed ''Antiochus and Stratonice'' (executed for [[Louis-Philippe of France|Louis-Philippe, duc d'Orléans]]), ''Portrait of [[Luigi Cherubini]]'', and the ''Odalisque with Slave'', among other works. ===Paris, 1841–1867=== [[Image:IngresBainTurc.jpg|thumb|right|200px|''The [[Turkish bath|Turkish Bath]]'', 1862, oil on canvas, diam. 108 cm, [[Louvre]]. A summation of the theme of female voluptuousness attractive to Ingres throughout his life, rendered in the circular format of earlier masters.]] The ''Stratonice'', exhibited at the Palais Royal for several days after its arrival in France, produced so favourable an impression that, on his return to Paris in 1841, Ingres was received with all the deference that he felt was his due. One of the first works executed after his return was a portrait of the duc d'Orléans, whose death in a carriage accident just weeks after the completion of the portrait sent the nation into mourning and led to orders for additional copies of the portrait. Ingres shortly afterward began the decorations of the great hall in the [[Chateau de Dampierre]]. These [[mural]]s, the ''Golden Age'' and the ''Iron Age'', were begun in 1843 with an ardour which gradually slackened until Ingres, devastated by the loss of his wife on [[July 27]] [[1849]], abandoned all hope of their completion and the contract with the Duc de Luynes was finally cancelled. A minor work, ''Jupiter and [[Antiope (mother of Amphion)|Antiope]]'', dates from 1851; in July of that year he announced a gift of his artwork to his native city of Montauban, and in October he resigned as professor at the École des Beaux-Arts. The following year Ingres, at seventy-one years of age, married forty-three-year-old Delphine Ramel, a relative of his friend Marcotte d'Argenteuil. This marriage proved as happy as his first, and in the decade that followed Ingres completed several significant works. A major undertaking was the ''Apotheosis of Napoleon I'', painted in 1853 for the ceiling of a hall in the [[Hotel de Ville, Paris]] and destroyed by fire in the [[Paris Commune|Commune]] of 1871. The portrait of ''Princesse Albert de Broglie'' was also completed in 1853, and ''[[Jeanne d'Arc|Joan of Arc]]'' appeared in 1854. The latter was largely the work of assistants, whom Ingres often entrusted with the execution of backgrounds. In 1855 Ingres consented to rescind his resolution, more or less strictly kept since 1834, in favour of the International Exhibition, where a room was reserved for his works.<ref>Tinterow, Conisbee et al., 1999, p. 554.</ref> [[Napoléon Joseph Charles Paul Bonaparte]], president of the jury, proposed an exceptional recompense for their author, and obtained from emperor [[Napoleon III of France]] Ingres's nomination as grand officer of the [[Legion of Honour]]. With renewed confidence Ingres now took up and completed one of his most charming productions, ''The Source'', a figure for which he had painted the torso in 1823; when seen with other works in [[London]] in 1862, admiration for his works was renewed, and he was given the title of senator by the imperial government. [[Image:IngresTomb.jpg|thumb|right|Ingres's tomb. Cimitière du [[Père Lachaise]], Paris, France]] After the completion of ''The Source'', Ingres produced paintings of historical genre, such as two versions of ''[[Louis XIV of France|Louis XIV]] and [[Molière]]'', (1857 and 1860), as well as several religious works in which the figure of the Virgin from ''The Vow of Louis XIII'' is 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 repetitions of ''The Virgin of the Host'', and in 1862 he completed ''Christ and the Doctors'', a work commissioned many years before by Queen [[Marie Amalie of Bourbon-Sicilies|Marie Amalie]] for the chapel of [[Bizy]]. The last of his important portrait paintings date from this period: ''Marie-Clothilde-Inés de Foucauld, Madame Moitessier, Seated'' (1856), ''Self-Portrait at the Age of Seventy-nine'' and ''Madame J.-A.-D. Ingres, née Delphine Ramel'', both completed in 1859. ''The Turkish Bath'', finished in a rectangular format in 1859, was revised in 1860 before being turned into a ''[[tondo]]''. Ingres signed and dated it in 1862, although he made additional revisions in 1863.<ref>Prat, 2004, p. 90.</ref> Ingres died of [[pneumonia]] on [[January 17]], [[1867]], at the age of eighty-six, having preserved his faculties to the last. He is interred in the [[Père Lachaise|Père Lachaise Cemetery]] in [[Paris]], [[France]]. 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]].<ref> Cohn and Siegfried, 1980, p. 25.</ref> ==Art== [[Image:Jean Auguste Dominique Ingres 008.jpg|left|thumb|200px|''[[Odalisque]] with a Slave'', 1842, oil on canvas, 76 x 105 cm, [[Walters Art Gallery]], [[Baltimore]]]] Ingres's style was formed early in life and changed comparatively little.<ref>Arikha, 1986, p. 5.</ref> His earliest drawings, such as the ''Portrait of a Man'' ([[July 3]] [[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".<ref>Prat, 2004, p. 13.</ref> 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."<ref>Barousse, 1979, p. 5.</ref> He abhorred the visible brushstroke and made no recourse to the shifting effects of colour and light on which the [[romanticism|Romantic]] 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." ("This is what I know: one must know the sword in the 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 Symphorien''. Among Ingres's historical and mythological paintings, the most satisfactory are usually those depicting one or two figures. In ''Oedipus'', ''Half-Length Bather'', ''Odalisque'', and ''The Spring'', subjects only animated by the consciousness of perfect physical well-being, we find Ingres at his best. ''The Spring'', although dated 1856, was painted in 1821, except for the head and the extremities; those 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. [[Image:Ruggiero rescuing angelica Jean Auguste Dominique Ingres.jpg|left|thumb|185|''Roger Freeing Angelica'', 1819, oil on canvas, 147 x 190 cm, [[Louvre]], portrays an episode from ''[[Orlando Furioso]]'' by [[Ludovico Ariosto]]]] 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 movement and drama. As Sanford Schwartz has noted, 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."<ref>Schwartz, 2006, p. 5.</ref> By the time of Ingres's retrospective at the Exposition Universelle in 1855, an emerging consensus viewed his portrait paintings as his masterpieces.<ref>Tinterow, Conisbee et al., 1999, p. 512.</ref> 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. The most famous of all of Ingres's portraits, depicting the journalist ''Louis-François Bertin'', quickly became a symbol of the rising economic and political power of the bourgeoisie.<ref>Tinterow, Conisbee et al., 1999, p. 300.</ref> His portraits of women range from the warmly sensuous ''Madame de Senonnes'' (1814) to the realistic ''Mademoiselle Jeanne Gonin'' (1821), the [[Juno (mythology)|Juno]]esque ''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). [[Image:Ingres - Mme Victor Baltard & sa fille Paule.jpg|right|thumb|200px|''Mme Victor Baltard and Her Daughter, Paule'', 1836, pencil on paper, 30.1 x 22.3 cm]] His portrait drawings, of which about 450 are extant,<ref>Ribeiro, 1999, p. 47.</ref> are today among his most admired works. While a disproportionate number of them date from his difficult early years in Italy, he continued to produce portrait drawings of his friends until the end of his life. Agnes Mongan has written of the portrait drawings:<blockquote>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 features.</blockquote><blockquote>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. It was immediately recognized as expert and admirable. If his paintings were sternly criticized as "Gothic," no comparable criticism was leveled at his drawings.<ref>Mongan and Naef, 1967, p. xiii.</ref></blockquote> His student Robert Balze described Ingres's working routine in executing his portrait drawings, each of which required four hours, as "an hour and a half in the morning, then two-and-a-half hours in the afternoon, he very rarely retouched it the next day. He often told me that he got the essence of the portrait while lunching with the model who, off guard, became more natural."<ref>Arikha, 1986, p. 6.</ref> Ingres drew his portrait drawings on [[wove paper]], which provided a smooth surface very different from the ribbed surface of [[laid paper]] (which is, nevertheless, sometimes referred to today as "Ingres paper").<ref>Mongan and Naef, 1967, p. 244.</ref> Drawings made in preparation for paintings, such as the many nude studies for ''The Martyrdom of St. Symphorien'' and ''The Golden Age'', are more varied in size and treatment than are the portrait drawings. He also drew a number of [[Landscape art|landscape]] views while in Rome but, with the exception of the small tondo ''Raphael's Casino'' (two other small tondos are of questionable attribution), he painted no pure landscapes.<ref>Arikha, 1986, p. 1.</ref> ==Legacy== Ingres was regarded as an effective teacher and was beloved by his students.<ref>Tinterow, Conisbee et al., 1999, p. 281.</ref> The best known of them is [[Théodore Chassériau]], 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 Chassériau his truest disciple—even predicting, according to an early biographer, that he would be "the Napoleon of painting."<ref>Guégan et al., 2002, p. 168.</ref> By the time Chassériau visited Ingres in Rome in 1840, however, the younger artist's growing allegiance to the romantic style of [[Eugene Delacroix|Delacroix]] was apparent, leading Ingres to disown his favorite student, of whom he never again spoke favorably. No other artist who studied under Ingres succeeded in establishing a strong identity; among the most notable of them were [[Jean-Hippolyte Flandrin]], [[Henri Lehmann]], and [[Eugène Emmanuel Amaury-Duval]]. Ingres's influence on later generations of artists has been considerable. His most significant heir was [[Degas]], who studied under [[Louis Lamothe]], a minor disciple of Ingres. In the twentieth century, [[Picasso]] and [[Matisse]] were among those who acknowledged a debt to the great classicist; Matisse described him as the first painter "to use pure colors, outlining them without distorting them."<ref>Arikha, 1986, p. 11.</ref> Pierre Barousse, the Keeper of the Musée Ingres, has written:<blockquote>The case of Ingres is certainly disturbing when 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 [[Alexandre Cabanel|Cabanel]] or [[William-Adolphe Bouguereau|Bouguereau]], 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 [[Cubism|Cubists]] for its plastic autonomy, as by the [[Surrealism|Surrealists]] for its visionary qualities.<ref>Barousse, 1979, p. 7.</ref></blockquote> [[Barnett Newman]] credited Ingres as a progenitor of [[abstract expressionism]], explaining: "That guy was an abstract painter ....He looked at the canvas more often than at the model. [[Franz Kline|Kline]], [[Willem de Kooning|de Kooning]]—none of us would have existed without him."<ref>Schneider, 1969, p. 39.</ref> Ingres's well-known passion for playing the violin gave to the French language a [[colloquialism]], "''violon d'Ingres''", meaning a hobby or avocation. The American avant-garde 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''. == Gallery == <center> <gallery perrow=5> Image:Ingres, Self-portrait.jpg|''Self-portrait at age 24'', 1804, [[Musée Condé]] Image:IngresOdipusAndSphinx.jpg|''[[Oedipus]] and the [[Sphinx]]'', 1808, [[Louvre]] Image:Ingres_valpincon.jpg|''La Grande baigneuse'', 1808, [[Louvre]] Image:Ingres Marcotte d-Argenteuil.jpg|''Marcotte d'Argenteuil'', 1810, [[National Gallery of Art]] Image:Ingres Mademoiselle Jeanne Suzanne Catherine Gonin.jpg|''Mademoiselle Jeanne-Suzanne-Catherine Gonin'', 1821 [[Taft Museum of Art]] Image:Ingres Madame Marie Marcotte.jpg|''Madame Marie Marcotte'', 1826, [[Louvre]] Image:Ingres broglie.jpg|''Louise de Broglie, Countess d'Haussonville'', 1845, [[Frick Collection]] Image:Ingres_Princess_Albert_de_Broglie.jpg|''Princesse Albert de Broglie, née Joséphine-Eléonore-Marie-Pauline de Galard de Brassac de Béarn'', 1853, [[Metropolitan Museum of Art]] Image:Ingres, The source.jpg|''The Source'', 1856, [[Musée d'Orsay]] Image:Dominique Ingres - Mme Moitessier.jpg|''Mme. Moitessier'', 1856, [[National Gallery of Art]] </gallery> </center> ==Notes== {{Reflist|2}} ==References== * Arikha, Avigdor (1986). ''J.A.D. Ingres: Fifty Life Drawings from the Musée Ingres at Montauban''. Houston: The Museum of Fine Arts. ISBN 0-89090-036-1 *Barousse, Pierre, 1979, "The drawings of Ingres or the poetry in his work", ''Ingres: Drawings from the Musee Ingres at Montauban and other collections'' (catalogue), Arts Council of Great Britain. ISBN 0-7287-0204-5 *Clay, Jean (1981). ''Romanticism''. New York: Vendome. ISBN 0-86565-012-8 *Cohn, Marjorie B.; Siegfried, Susan L. (1980). ''Works by J.-A.-D. Ingres in the collection of the Fogg Art Museum''. Cambridge: Fogg Art Museum. *Condon, Patricia, et al. (1983). ''In Pursuit of Perfection: The Art of J.-A.-D. Ingres''. Louisville: The J. B. Speed Art Museum. ISBN 0-9612276-0-5 * Delaborde, ''Ingres, sa vie et ses travaux'', 1870. *Gowing, Lawrence (1987). ''Paintings in the Louvre'' New York: Stewart, Tabori & Chang. ISBN 1-55670-007-5 *Guégan, Stéphane; Pomaréde, Vincent; Prat, Louis-Antoine (2002). ''Théodore Chassériau, 1819-1856: the unknown romantic.'' New Haven and London: Yale University Press. ISBN 1-58839-067-5 *Mongan, Agnes; Naef, Dr. Hans (1967). ''Ingres Centennial Exhibition 1867-1967: Drawings, Watercolors, and Oil Sketches from American Collections''. Greenwich: New York Graphic Society. *Parker, Robert Allerton, 1926, "Ingres: The Apostle of Draughtsmanship", ''International Studio'' 83 (March 1926): pp. 24–32. *Prat, Louis-Antoine (2004). ''Ingres''. Milan: 5 Continents. ISBN 88-7439-099-8 *Ribeiro, Aileen (1999). ''Ingres in Fashion: Representations of Dress and Appearance in Ingres's Images of Women''. New Haven and London: Yale University Press. ISBN 0-300-07927-3 *Schneider, Pierre, 1969, "Through the Louvre with Barnett Newman", ''[[ARTnews]]'' (June 1969): pp. 34–72. *Schwartz, Sanford, 2006, "Ingres vs. Ingres", ''The New York Review of Books'' 53:12 (2005): pp. 4–6. *Siegfried, S. L., & Rifkin, A. (2001). ''Fingering Ingres''. Oxford: Blackwell. ISBN 0-631-22526-9 *Tinterow, Gary; Conisbee, Philip, et al. (1999). ''Portraits by Ingres: Image of an Epoch''. New York: Harry N. Abrams, Inc. ISBN 0-300-08653-9 *Turner, J. (2000). ''From Monet to Cézanne: late 19th-century French artists''. Grove Art. New York: St Martin's Press. ISBN 0-312-22971-2 ==External links== {{commons| Jean Auguste Dominique Ingres}} * [http://www.louvre.fr/llv/dossiers/detail_oal.jsp?CONTENT%3C%3Ecnt_id=10134198674046752&CURRENT_LLV_OAL%3C%3Ecnt_id=10134198674046752&FOLDER%3C%3Efolder_id=9852723696500955&bmLocale=en '''A Closer Look at the portrait of Louis-François Bertin by Ingres''' (Louvre Museum)] * [http://www.malarze.walhalla.pl/galeria.php5?art=59 '''Art Gallery'''—Jean Auguste Dominique Ingres] * [http://www.wga.hu/index1.html '''Web Gallery of Art'''—Jean Auguste Dominique Ingres] * [http://www.newadvent.org/cathen/08008b.htm '''Catholic Encyclopedia''' article on Ingres] * [http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GSvcid=51657&GRid=6155& Memorial Page at FindaGrave] ---- * {{1911}} {{start box}} {{s-culture}} {{succession box | before=[[Horace Vernet]] | title=Director of the <br>[[French Academy in Rome]] | years=1835&ndash;1840| after=[[Jean-Victor Schnetz]] }} {{end box}} {{BD|1780|1867|Ingres, Jean Auguste Dominique}} [[Category:French painters]] [[Category:Neoclassical painters]] [[Category:Burials at Père Lachaise Cemetery]] [[Category:People from Montauban]] [[Category:Prix de Rome winners]] [[Category:Recipients of the Pour le Mérite (civil class)]] [[ar:آنغر]] [[bs:Jean Auguste Dominique Ingres]] [[br:Dominique Ingres]] [[ca:Jean Auguste Dominique Ingres]] [[cs:Jean Auguste Dominique Ingres]] [[da:Jean Auguste Dominique Ingres]] [[de:Jean-Auguste-Dominique Ingres]] [[es:Jean Auguste Dominique Ingres]] [[fa:ژان اگوست دومینیک انگر]] [[fr:Dominique Ingres]] [[gl:Jean Auguste Dominique Ingres]] [[ko:도미니크 앵그르]] [[hr:Jean Auguste Dominique Ingres]] [[io:Dominique Ingres]] [[it:Jean-Auguste-Dominique Ingres]] [[he:ז'אן אוגוסט דומיניק אנגר]] [[nl:Jean Auguste Dominique Ingres]] [[ja:ドミニク・アングル]] [[no:Jean Auguste Dominique Ingres]] [[nn:Jean Auguste Dominique Ingres]] [[pl:Jean Ingres]] [[pt:Jean Auguste Dominique Ingres]] [[ro:Jean Auguste Dominique Ingres]] [[ru:Энгр, Жан Огюст Доминик]] [[sr:Жан Огист Доминик Енгр]] [[fi:Jean Auguste Dominique Ingres]] [[sv:Jean Auguste Dominique Ingres]] [[tr:Jean Auguste Dominique Ingres]] [[zh:让·奥古斯特·多米尼克·安格尔]]