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Jean-Auguste-Dominique Ingres

Self-portrait at age 24, 1804 (revised c. 1850), oil

on canvas, 78 x 61 cm, Musée Condé

Born Jean-Auguste-Dominique Ingres

29 August 1780

Montauban, Languedoc, France

Died 14 January 1867 (aged 86)Paris, France

Known for Painting, dr awing

Notable work Louis-François Bertin, 1832

The Turkish Bath, 1862

Movement Neoclassicism

Jean-Auguste-Dominique IngresFrom Wikipedia, the free encyclopedia

Jean-Auguste-Dominique Ingres (French: [ʒɑnoɡystdominik ɛ ɡʁ]; 29 August 1780 – 14 January 1867)was a French Neoclassical painter. Although he

considered himself to be a painter of history in thetradition of Nicolas Poussin and Jacques-Louis David, by the end of his life it was Ingres's portraits, both painted and drawn, that were recognized as hisgreatest legacy.

A man profoundly respectful of the past, he assumedthe role of a guardian of academic orthodoxy againstthe ascendant Romantic style represented by hisnemesis, Eugène Delacroix. His exemplars, he once

explained, were "the great masters which flourished inthat century of glorious memory when Raphael set theeternal and incontestable bounds of the sublime inart ... I am thus a conservator of good doctrine, and

not an innovator ."[1] Nevertheless, modern opinionhas tended to regard Ingres and the other

Neoclassicists of his era as embodying the Romantic

spirit of his time,[2] while his expressive distortions of form and space make him an important precursor of modern art.

Contents

1 Early years2 In Paris3 In Rome4 In Florence5 Triumphal retur n to Paris and angry retreat

to Rome6 Paris, 1841–18677 Art8 Legacy9 Works10 Gallery11 Notes12 References13 Further reading14 External links

Early years

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The Envoys of Agamemnon, 1801, oilon canvas, École des Beaux Arts,Paris

Ingres was born in Montauban, Tarn-et-Garonne, France, the firstof 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 thearts, a painter of miniatures, sculptor, decorative stonemason, andamateur musician; his mother was the nearly illiterate daughter

of a master wigmaker.[3] From his father the young Ingres

received early encouragement and instruction in drawing andmusic, and his first known drawing, a study after an antique cast,

was made in 1789.[4] Starting in 1786 he attended the localschool École des Frères de l'Éducation Chrétienne, but hiseducation was disrupted by the turmoil of the French Revolution,and the closing of the school in 1791 marked the end of hisconventional education. The deficiency in his schooling would

always remain for him a source of insecurity.[5]

In 1791, Joseph Ingres took his son to Toulouse, where the young Jean-Auguste-Dominique wasenrolled in the Académie Royale de Peinture, Sculpture et Architecture. There he studied under thesculptor Jean-Pierre Vigan, the landscape painter Jean Briant, and the neoclassical painter Guillaume-

Joseph Roques. Roques' veneration of Raphael was a decisive influence on the young artist.[6] Ingres

won prizes in several disciplines, such as composition, "figure and antique", and life studies.[7] Hismusical talent was developed under the tutelage of the violinist Lejeune, and from the ages of thirteen to

sixteen he played second violin in the Orchestre du Capitole de Toulouse.[7]

In Paris

In March 1797, the Academy awarded Ingres first prize in drawing, and in August he traveled to Paris tostudy 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."[8] He was admitted tothe 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 The Ambassadors of Agamemnon in the tent of

chilles. His trip to Rome, however, was postponed until 1806, when the financially strainedgovernment finally appropriated the travel funds.

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 vase paintings, and in the outline engravings of the English artist John Flaxman.[7] In 1802 hemade his debut at the Salon with Portrait of a Woman (the current whereabouts of which are unknown).The following year brought a prestigious commission, when Ingres was one of five 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 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.[9] Napoleon is not known to have granted the artists a sitting, and

Ingres's meticulously painted portrait of Bonaparte, First Consul appears to be modelled on an image of Napoleon painted by Antoine-Jean Gros in 1802.[10]

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Napoleon I on his Imperial Throne,1806, oil on canvas, 260 x 163 cm,Musée de l'Armée, Paris

Madame Rivière, 1806, oil on canvas,

116.5 x 81.7 cm, Louvre

In the summer of 1806Ingres became engaged toMarie-Anne-JulieForestier, a painter andmusician, before leavingfor Rome in September.Although he had hoped to

stay in Paris long enoughto witness the opening of that year's Salon, inwhich he was to displayseveral works, hereluctantly left for Italy

just days before the

opening.[11] 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 to not onlyIngres's stylistic idiosyncrasies but also his adoption of

Carolingian imagery in representing Napoleon.[12] David

delivered a severe judgement,[4] and the critics were uniformlyhostile, 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:

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 somethingsingular, something extraordinary ... M. Ingres's intention is nothing less than to make artregress by four centuries, to carry us back to its infancy, to revive the manner of Jean de

Bruges.[13]

Ingres' stylistic eclecticism represented a new tendency in art. The Louvre, newly filled with bootyseized by Napoleon in his campaigns in Italy and the Low Countries, provided French artists of the early19th century with an unprecedented opportunity to study, compare, and copy masterworks from antiquity

and from the entire history of European painting.[14] As art historian Marjorie Cohn has written: "At thetime, 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."[15] From the beginning of his career, Ingres freely borrowed from earlier art, adoptingthe 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 outrageat the critics: "So the Salon is the scene of my disgrace; ... The scoundrels, they waited until I was awayto assassinate my reputation ... I have never been so unhappy." He vowed never again to exhibit at the

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Ingres' portrait of fellow studentMerry-Joseph Blondel in front of theVilla Medici in 1809

Salon, and his refusal to return to Paris led to the breaking up of his engagement.[16] 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."[17]

In Rome

Installed in a studio on the grounds of the Villa Medici, Ingrescontinued his studies and, as required of every winner of the Prix, he sent works at regular intervals to Paris so his progresscould 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.[18] The verdict of the academicians was

that the figures were not sufficiently idealized.[19] In later yearsIngres painted variants of both compositions; another nude begunin 1807, the Venus Anadyomene, remained in an unfinished state

for decades, to be completed forty years later and finallyexhibited 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 Comtessede Tournon, mother of the prefect of the department of the Tiber.In 1810 Ingres's pension at the Villa Medici ended, but hedecided to stay in Rome and seek patronage from the Frenchoccupation government.

In 1811 Ingres finished his final student exercise, the immense Jupiter and Thetis, which was once again

harshly judged in Paris.[20] Ingres was stung; the public was indifferent, and the strict classicists amonghis 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 lifealways expressed the deepest abhorrence—seem to have recognized his merits.

Although facing uncertain prospects, in 1813 Ingres married a young woman, Madeleine Chapelle, whohad 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.

[21]

Their marriage was ahappy one, and Madame Ingres acquired a faith in her husband which enabled her to combat withcourage and patience the difficulties of their common existence. He continued to suffer the indignity of disparaging reviews, as Don Pedro of Toledo Kissing Henry IV's Sword , 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.[22]

A few important commissions came to him. Notably, the French governor of Rome asked him to paintVirgil reading the Aeneid (1812) for his residence, and to paint two colossal works— Romulus' 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 subjectand scale, the type of painting with which Ingres was determined to make his reputation, but, as PhilipConisbee has written, "for all the high ideals that had been drummed into Ingres at the academies inToulouse, 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."[23] Art

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Virgil reading to Augustus, 1812, oilon canvas, 304 x 323 cm, Musée desAugustins, Toulouse

Grande Odalisque, 1814, oil oncanvas, 91 x 162 cm, Louvre. Thesubject's elongated proportions,

reminiscent of 16th-centuryMannerist painters, reflect Ingres'ssearch for the pure form of hismodel.

collectors preferred "light-hearted mythologies, recognizablescenes of everyday life, landscapes, still lifes, or likenesses of men and women of their own class. This preference persistedthroughout the nineteenth century, as academically orientedartists waited and hoped for the patronage of state or church to

satisfy their more elevated ambitions."[24]

Ingres traveled to Naplesin the spring of 1814 to paint Queen Caroline

Murat , and the Muratfamily ordered additional

portraits as well as threemodestly scaled works:The Betrothal of Raphael ,

La Grande Odalisque,and Paolo and Francesca. Apart from the Betrothal , however, he

never received payment for these paintings, due to the collapse of the Murat regime in 1815.[25] With the fall of Napoleon'sdynasty, he found himself essentially stranded in Rome without

patronage.

During this low point of his career, Ingres made his living bydrawing pencil portraits 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 visitorswho 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!"[26] Nevertheless, the portrait drawingshe produced in such profusion during this period are of outstanding quality, and rank today among hismost admired works.[27]

Mining the vein of the small-scale historical genre piece, in 1815 he painted Aretino and Charles V's

mbassador 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.[28] Amonghis other paintings in the same Troubadour style were Henry IV Playing with His Children (1817) andthe Death of Leonardo (1818). In 1817 the Count of Blacas, who was ambassador of France to the HolySee, 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 but to the artist'schagrin 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 honours for his repression of the ProtestantReformation. Ingres loathed the subject—he regarded the Duke as one of history's brutes—and struggledto satisfy both the commission and his conscience. After revisions which eventually reduced the Duke to

a tiny figure in the background, Ingres left the work unfinished.[29] 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.")[30]

During this period, Ingres formed friendships with musicians including Paganini, and regularly played

the violin with others who shared his enthusiasm for Mozart, Haydn, Gluck, and Beethoven.[20] Theworks he sent to the 1819 Salon were La Grande Odalisque, Philip V and the Marshal of Berwick , and

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Portrait of Louis-François Bertin,1832, oil on canvas, 116 x 96 cm,Louvre

Roger Freeing Angelica, which were once again condemned as "gothic" by critics.[31]

In Florence

Ingres and his wife moved to Florence in 1820 at the urging of the Florentine sculptor Lorenzo Bartolini,an old friend from his years in Paris, who hoped that Ingres would improve his position materially, butIngres, as before, had to rely on his drawings of tourists and diplomats for support. His friendship withBartolini, whose worldly success in the intervening years stood in sharp contrast to Ingres's poverty,quickly became strained, and Ingres found new quarters.[32] In 1821 he finished a paintingcommissioned by a childhood friend, Monsieur de Pastoret, the Entry of Charles V into Paris; dePastoret 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 dePastoret, to paint The Vow of Louis XIII for the Cathedral of Montauban. Recognizing this as anopportunity to establish himself as a painter of history, he spent four years bringing the large canvas tocompletion, and he travelled to Paris with it in October 1824.

Triumphal return to Paris and angryretreat to Rome

The Vow of Louis XIII , exhibited at the Salon of 1824, finally brought Ingres critical success. Conceived in a Raphaelesquestyle relatively free of the archaisms for which he had beenreproached in the past, it was admired even by strict Davidians.Ingres found himself celebrated throughout France; in January1825 he was awarded the Cross of the Légion d'honneur by

Charles X, and in June 1825 he was elected to the Institute. Hisfame was extended further in 1826 by the publication of Sudre'slithograph 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 potheosis of Homer , which Ingres eagerly finished in a year's

time. From 1826 to 1834 the studio of Ingres was thronged, andhe was a recognized chef d'école who taught with authority andwisdom while working steadily. The critics came to regard Ingres

as the standard-bearer of classicism against the romantic school[33] —a role he relished. The paintings, primarily portraits, that he sent to the Salon in 1827 were well received.

Despite the considerable patronage he enjoyed under the Bourbon government, Ingres regarded the July

Revolution of 1830 with enthusiasm.[34] That the outcome of the Revolution was not a republic but aconstitutional monarchy was satisfactory to the essentially conservative and pacifistic artist, who in aletter to a friend in August 1830 criticized agitators who "still want to soil and disturb the order and

happiness of a freedom so gloriously, so divinely won."[35] Ingres's career was little affected, and hecontinued 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 particular success. The public found its realism spellbinding, although some of the critics declared its

naturalism vulgar and its colouring drab.[36] The thin-skinned artist was outraged, however, by thecriticism of his ambitious canvas of The Martyrdom of Saint Symphorian (cathedral of Autun), shown in

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The Turkish Bath, 1862, oil oncanvas, diam. 108 cm, Louvre. Asummation of the theme of femalevoluptuousness attractive to Ingresthroughout his life, rendered in the

circular format of earlier masters.

Oedipus and the Sphinx, 1864,[39] oilon canvas, 105.5 x 87 cm, TheWalters Art Museum

the Salon of 1834. Resentful and disgusted, Ingres resolved never again to work for the public, andgladly availed himself of the opportunity to return to Rome, as director of the École de France, in theroom 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 (commissioned by Louis-Philippe, ducd'Orléans), Portrait of Luigi Cherubini, and the Odalisque with Slave, among other works. In 1839,

Franz Liszt visited the Villa Medici, and Ingres formed a friendship with him.[37]

Paris, 1841–1867

One of only two works sent back to Paris during Ingres's six-year term as Director of the French Academy in Rome, the Stratonice

was exhibited for several days in mid-August 1840 in the privateapartment of the duc d'Orléans in the Pavilion Marsan of the

Palais des Tuileries.[38] While lampooned in Le Corsaire for itslofty subject matter yet extremely modest proportions (less thanone metre across), overall the work was warmly received; so

much so that on his return to Paris in June 1841, Ingres wasreceived with all the deference that he felt was his due, including being received personally by King Louis-Philippe for a tour around Versailles. One of the first works executed after his returnwas a portrait of the duc d'Orléans, whose death in a carriageaccident just weeks after the completion of the portrait sent thenation into mourning and led to orders for additional copies of the portrait.

Ingres shortly afterward

began the decorations of the great hall in theChâteau de Dampierre.These murals, the Golden Age and the Iron Age, were begun in1843 with an ardour which gradually slackened until Ingres,devastated by the loss of his wife on 27 July 1849, abandoned allhope of their completion and the contract with the Duc deLuynes was finally cancelled. A minor work, Jupiter and

Antiope, dates from 1851; in July of that year he announced a giftof 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, marriedforty-three-year-old Delphine Ramel, a relative of his friendMarcotte d'Argenteuil. This marriage proved as happy as hisfirst, and in the decade that followed Ingres completed severalsignificant works. A major undertaking was the Apotheosis of

Napoleon I , painted in 1853 for the ceiling of a hall in the Hôtelde Ville, Paris, and destroyed by fire in the Commune of 1871.

The portrait of Princesse Albert de Broglie was also completed in 1853, and Joan of Arc at the

Coronation of Charles VII appeared in 1854. The latter was largely the work of assistants, whom Ingresoften 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.[40]

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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,[56] aretoday among his most admired works. While a disproportionatenumber of them date from his difficult early years in Italy, hecontinued to produce portrait drawings of his friends until theend of his life. Agnes Mongan has written of the portraitdrawings:

Before his departure in the fall of 1806 from Parisfor Rome, the familiar characteristics of his drawingstyle were well established, the delicate yet firmcontour, the definite yet discreet distortions of form,the almost uncanny capacity to seize a likeness inthe precise yet lively delineation of features.

The preferred materials were also already

established: the sharply pointed graphite pencil on asmooth white paper. So familiar to us are both thematerials and the manner that we forget howextraordinary they must have seemed at the time ...Ingres' manner of drawing was as new as thecentury. It was immediately recognized as expert andadmirable. If his paintings were sternly criticized as"Gothic," no comparable criticism was leveled at his

drawings.[57]

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 theafternoon, 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."[58] Ingres drew his portraitdrawings 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").[59]

Drawings made in preparation for paintings, such as the many nude studies for The Martyrdom of St.

Symphorian and The Golden Age, are more varied in size and treatment than are the portrait drawings.He also drew a number of landscape views while in Rome, but he painted only one pure landscape, thesmall tondo Raphael's Casino (although two other small landscape tondos are sometimes attributed to

him).[60]

Legacy

Ingres was regarded as an effective teacher and was beloved by his students.[61] The best known of themis 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".[62] By thetime Chassériau visited Ingres in Rome in 1840, however, the younger artist's growing allegiance to theromantic style of Delacroix was apparent, leading Ingres to disown his favourite student, of whom he

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Jean Auguste Dominique Ingrescommemorated on a postage stamp of the Union of Soviet SocialistRepublics from 1980. The 1856

painting The Source is in the background.

subsequently spoke rarely and censoriously. No other artist whostudied 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 beenconsiderable. His most significant heir was Degas, who studiedunder Louis Lamothe, a minor disciple of Ingres. In the 20thcentury, Picasso and Matisse were among those whoacknowledged a debt to the great classicist; Matisse describedhim as the first painter "to use pure colours, outlining them

without distorting them."[63] Pierre Barousse, the Keeper of theMusée Ingres, has written:

The case of Ingres is certainly disturbing when onerealizes in how many ways a variety of artists claim

him as their master, from the most plainlyconventional of the nineteenth century such asCabanel or Bouguereau, to the most revolutionary of our century from Matisse to Picasso. A classicist?Above all, he was moved by the impulse to penetratethe secret of natural beauty and to reinterpret itthrough its own means; an attitude fundamentallydifferent to that of David ... there results a truly

personal and unique art admired as much by theCubists for its plastic autonomy, as by the Surrealists

for its visionary qualities.[64]

Barnett Newman credited Ingres as a progenitor of abstract expressionism, explaining: "That guy was anabstract painter ... He looked at the canvas more often than at the model. Kline, de Kooning—none of us

would have existed without him."[65]

Ingres's well-known passion for playing the violin gave to the French language a colloquialism, "violon

d'Ingres", meaning a second skill beyond the one by which a person is mainly known. The American

avant-garde artist Man Ray used this expression as the title of a famous photograph[66] portraying Alice

Prin (aka Kiki de Montparnasse) in the pose of the Valpinçon Bather .

His actual skill on the violin is a matter of dispute. He played Beethoven string quartets with NiccolòPaganini. In an 1839 letter, Franz Liszt described his playing as "charming", and planned to play throughall the Mozart and Beethoven violin sonatas with Ingres. Liszt also dedicated his transcriptions of the 5th

and 6th symphonies of Beethoven to Ingres on their original publication in 1840.[67] Charles Gounodwas non-committal, merely noting that "he was not a professional, even less a virtuoso". But Sir CharlesHallé was scathing, writing "He thought less of his paintings than his violin playing, which, to say the

least of it, was vile".[68]

Works

Portrait of Monsieur BertinBonaparte, First Consul

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Madame Moitessier Napoleon I on his Imperial ThroneMademoiselle Caroline RivièreOdalisque with SlaveThe Apotheosis of Homer The SourceThe Valpinçon Bather Grande Odalisque

Jupiter and Thetis

Gallery

Academic Study of a Male Torso ,1801, National Museum inWarsaw

The Valpinçon Bather , 1808,Louvre

Marcotte d'Argenteuil , 1810, National Gallery of Art

Jup iter and Thetis, 1811, MuséeGranet in Aix-en-Provence

Portrait of Niccolò Paganini,1819

Mad emoiselle Jea nne-Suzanne-

Catherine Gonin, 1821, TaftMuseum of Art

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Ingres's tomb, Père LachaiseCemetery, Paris

Baronne de Rothschild , 1848,Rothschild Collection, Paris

Louise de Broglie, Countess

d'Haussonville, 1845, Frick Collection

Princesse Albert de Broglie, née

Joséph ine-Eléonore-Marie-

Pauline de Galard de Brassa c

de Béarn, 1853, MetropolitanMuseum of Art

Joa n of Arc at the Corona tion of

Charles VII , 1854, Louvre

The Source, 1856, Muséed'Orsay

Mme. Moitessier , 1856, NationalGallery

Notes

1. Condon et al. 1983, p. 14.2. Turner 2000, p. 237.3. Parker 19264. Arikha 1986, p. 103.5. Tinterow, Conisbee et al. 1999, pp. 25, 280.6. Prat 2004, p. 15.7. Mongan and Naef 1967, p. xix.8. Tinterow, Conisbee et al. 1999, p. 31.9. Tinterow, Conisbee et al. 1999, p. 46.

10. Tinterow, Conisbee et al. 1999, p. 48.

11. Cohn and Siegfried 1980, p. 22.12. Tinterow, Conisbee et al. 1999, p. 68.13. Quoted and translated in Tinterow, Conisbee et al. 1999, p. 70.14. Tinterow, Conisbee et al. 1999, p. 27.15. Condon et al. 1983, p. 13.

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16. Tinterow, Conisbee et al. 1999, p. 546.17. Tinterow, Conisbee et al. 1999, p. 75.18. Condon et al. 1983, p. 38.19. Tinterow, Conisbee et al. 1999, pp 98–101.20. Arikha 1986, p. 104.21. Tinterow, Conisbee et al. 1999, pp. 152–154.22. Mongan and Naef 1967, p. xx.23. Tinterow, Conisbee et al. 1999, p. 106.

24. Tinterow, Conisbee et al. 1999, p. 26.25. Cohn and Siegfried 1980, p. 50; Tinterow, Conisbee et al. 1999, p. 147.26. Tinterow, Conisbee et al. 1999, p. 111.27. Mongan and Naef 1967, p. xvii.28. Condon et al. 1983, p. 12.29. Condon et al. 1983, p. 86.30. Delaborde 1870, p. 229.31. Cohn and Siegfried 1980, pp. 22–23.32. Cohn and Siegfried 1980, pp. 23, 11433. Siegfried & Rifkin 2001, p. 78–81.34. Grimme 2006, p. 30.

35. Tinterow, Conisbee et al. 1999, pp. 281–282.36. Tinterow, Conisbee et al. 1999, p. 503.37. Tinterow, Conisbee et al. 1999, p. 550.38. Shelton, Andrew Carrington (2005). Ingres and his Critics. Cambridge

University Press, p. 61.39. "Oedipus and the Sphinx". The Walters Art Museum.40. Tinterow, Conisbee et al. 1999, p. 554.41. Prat 2004, p. 90.42. Cohn and Siegfried 1980, p. 25.43. Arikha 1986, p. 5.44. "Portrait of an unknown, since the bust, left profile - Jean Auguste

Dominique Ingres - WikiArt.org".45. Prat 2004, p. 13.46. Barousse 1979, p. 5.47. Schwartz 2006, p. 5.48. Condon et al. 1983, pp. 12–13.49. Condon et al. 1983, pp. 11–12.50. "Highlights" (10). Cornucopia.51. Condon et al. 1983, p. 11.52. Condon et al. 1983, p. 64; Radius 1968, p. 115.53. Cohn and Siegfried 1980, p. 75.54. Tinterow, Conisbee et al. 1999, p. 512.

55. Tinterow, Conisbee et al. 1999, p. 300.56. Ribeiro 1999, p. 47.57. Mongan and Naef 1967, p. xiii.58. Arikha 1986, p. 6.59. Mongan and Naef 1967, p. 244.60. Arikha 1986, p. 1.61. Tinterow, Conisbee et al. 1999, p. 281.62. Guégan et al. 2002, p. 168.63. Arikha 1986, p. 11.64. Barousse 1979, p. 7.65. Schneider 1969, p. 39.

66. "Le Violon d'Ingres (Ingres's Violin) (Getty Museum)". Getty.edu. 2009-05-07. Retrieved 2014-01-20.

67. Grove's Dictionary of Music and Musicians, 5th ed, 1954, Vol. V, p. 299:"Franz Liszt: Catalogue of Works".

68. Williams, Sam (October 2010). Limelight . "Le Violon d'Ingres'".

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References

Arikha, Avigdor (1986). J.A.D. Ingres: Fifty Life Drawings from the Musée Ingres at Montauban.Houston: The Museum of Fine Arts. ISBN 0-89090-036-1Barousse, 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 GreatBritain. ISBN 0-7287-0204-5

Betzer, Sarah E., & Ingres, J.-A.-D. (2012). Ingres and the Studio: Women, Painting, History.University Park, Pa: Pennsylvania State University Press. ISBN 9780271048758Clay, Jean (1981). Romanticism. New York: Vendome. ISBN 0-86565-012-8Cohn, Marjorie B.; Siegfried, Susan L. (1980). Works by J.-A.-D. Ingres in the Collection of the

Fogg Art Museum. Cambridge, Mass.: Fogg Art Museum, Harvard Univ. OCLC 6762670 (https://www.worldcat.org/oclc/6762670)Condon, Patricia; Cohn, Marjorie B.; Mongan, Agnes (1983). In Pursuit of Perfection: The Art of

J.-A.-D. Ingres. Louisville: The J. B. Speed Art Museum. ISBN 0-9612276-0-5Delaborde, Henri (1870). Ingres, sa vie, ses travaux, sa doctrine: D'apres les notes manuscrites et les lettres du maitre. Paris: H. Plon OCLC 23402108 (https://www.worldcat.org/oclc/23402108)Gowing, Lawrence (1987). Paintings in the Louvre. New York: Stewart, Tabori & Chang. ISBN 1-55670-007-5Grimme, Karin H. (2006). Jean-Auguste-Dominique Ingres, 1780-1867 . Hong Kong: Taschen.ISBN 3-8228-5314-3Guégan, Stéphane; Pomaréde, Vincent; Prat, Louis-Antoine (2002). Théodore Chassériau, 1819-1856: The Unknown Romantic. New Haven and London: Yale University Press. ISBN 1-58839-067-5Mongan, Agnes; Naef, Dr. Hans (1967). Ingres Centennial Exhibition 1867-1967: Drawings,Watercolors, and Oil Sketches from American Collections. Greenwich, Conn.: Distributed by NewYork Graphic Society. OCLC 170576 (https://www.worldcat.org/oclc/170576)Parker, Robert Allerton (March 1926). "Ingres: The Apostle of Draughtsmanship". International

Studio 83 (346): 24–32.Prat, Louis-Antoine (2004). Ingres. Milan: 5 Continents. ISBN 88-7439-099-8Radius, Emilio (1968). L'opera completa di Ingres. Milan: Rizzoli. OCLC 58818848 (https://www.worldcat.org/oclc/58818848)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 0-300-07927-3Schneider, Pierre (June 1969). "Through the Louvre with Barnett Newman". ARTnews. pp. 34–72.Schwartz, Sanford (13 July 2006). "Ingres vs. Ingres". The New York Review of Books 53 (12): 4– 6.Siegfried, S. L., & Rifkin, A. (2001). Fingering Ingres. Oxford: Blackwell. ISBN 0-631-22526-9

Tinterow, Gary; Conisbee, Philip; Naef, Hans (1999). Portraits by Ingres: Image of an Epoch. New York: Harry N. Abrams, Inc. ISBN 0-8109-6536-4Turner, J. (2000). From Monet to Cézanne: Late 19th-century French Artists. Grove Art. NewYork: St Martin's Press. ISBN 0-312-22971-2

Attribution

This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed.(1911). "article name needed". Encyclopædia Britannica (11th ed.). Cambridge University Press.

Further reading

French painting 1774-1830: the Age of Revolution. New York; Detroit: The MetropolitanMuseum of Art; The Detroit Institute of Arts. 1975. (see index)

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Categories: 1780 births 1867 deaths People from Montauban 18th-century French painters19th-century French painters French neoclassical painters Burials at Père Lachaise CemeteryPrix de Rome for painting Recipients of the Pour le Mérite (civil class) Academic artAlumni of the École des Beaux-Arts Pupils of Jacques-Louis DavidMembers of the Académie des beaux-arts Orientalist painters19th-century painters of historical subjects

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