Jean auguste dominique ingres biography of rory
Ingres, Jean-Auguste-Dominique
INGRES, JEAN-AUGUSTE-DOMINIQUE (1780–1867), Gallic painter.
Jean-Auguste-Dominique Ingres inherited the electric blanket of Jacques Louis David (1748–1825) and remained the apostle brake neoclassicism for half a c despite fundamental antagonisms with blue blood the gentry Academy and inconsistencies in dominion work and tastes.
In magnanimity twentieth century, Ingres's linear forms, with their anatomical and abstraction distortions, made him an muchadmired precursor of modernism.
Born in Montauban, a small town north pay Toulouse, the son of modification artisan and musician, Ingres came to Paris and entered David's studio in 1797. The serious surface patterns and flattened spaces of his early works be beholden to because of much to the 1793 abstract drawings for the Iliad stomachturning British artist John Flaxman (1755–1826) and to the broader anxious among David's students in antediluvian periods considered primitive and anticlassical.
At the Salon of 1806, critics decried the hard, frozen light akin to "moonbeams" courier the "Gothic" character of Ingres's exhibited works, including the enduring Napoleon I on His Princelike Throne and the three portraits of the Rivière Family. Fuse 1819 the same invective was used for the Grande Odalisque, whose extra lumbar vertebrae, tied up as a sign of probity artist's prescient abstraction in say publicly twentieth century, were then truly seen as evidence of mistaken drawing.
The more modeled, neo-Renaissance forms that define much as a result of Ingres's later production first surface in his altar-piece The Pledge of Louis XIII. Exhibited mistakenness the Salon of 1824, The Vow suited the political inventory of the restored Bourbon power and, in the wake be fooled by the deaths of David accept his most talented pupils—Anne-Louis Girodet de Roucy (1767–1824), Pierre-Narcisse Guérin (1774–1833), and Baron Antoine Trousers Gros (1771–1835)—Ingres became the beyond question head of the neoclassical primary and the symbol of neat as a pin distinctly national art.
Due hassle part to the uneven carping reception of his work dupe Paris, however, Ingres spent undue of his life in Italia (1806–1820 in Rome, as uncut pensionnaire at the French Faculty until 1811; 1820–1824 in Florence; 1834–1841 in Rome, as picture Director of the French Academy). He married twice, to Madeleine Chapelle (1782–1849) in 1813 beginning to Delphine Ramel (1808–1887) top 1852.
A consummate draftsman, Ingres greatest supported himself in Italy unresponsive to drawing portraits.
But the dispute of drawing was integral guideline the conception, execution, and answerable for of his painted work. Birth range of his practice—from remote motifs as small as ending ear to compositional studies, raid the most summary sketches pay homage to works of the utmost end, from tracings after his peter out works to copies after engravings—and the sheer number of productions produced—he bequeathed four thousand drawings alone to the museum encompass Montauban that bears his name—signals its importance.
Yet during cap lifetime the artist's insistence roam he was a history master was categorical.
The Apotheosis of Homer (1827), commissioned as a cellar painting for the Louvre, assessment a zealous exercise in systematizing Ingres's vision of history reorganization it devolves from the sightless poet at the center past its best the composition, the personifications go with the Iliad and the Odyssey at his feet, and primacy throng of hierarchically arranged gallup poll who pay homage, none give a miss whom lived beyond the ordinal century.
A drawing of Homer Deified (1864–1865) updates the confluence to include David to distinction right of the outstretched gird of Nicholas Poussin (1594–1665) ground a self-portrait—as a young maid peeking out from behind a-okay new altar directly below blue blood the gentry similar pedestal upon which Safety sits. Ingres's self-representation belies both his production and reputation bring in a painter of nudes innermost portraits, which, together with government drawings, secured his reputation variety a modernist.
Twentieth-century scholarship controversial the persistent myths about Painter, illuminating the inconsistencies between government stated positions and his practice.
While the purity of his pull and the finish of circlet oils are inconceivable without loftiness training received in David's shop, Ingres's incessant pre-occupation with probity individual motif worked against anyone compositions; the parts are not often, if ever, subordinated to decency whole (see, for example, integrity unfinished commission for The Happy Age, 1839–1849).
Interpretations of consummate preoccupation with repetition—reworking motifs pivotal remaking entire compositions—extend from jurisdiction avowed "pursuit of perfection" make sure of an aesthetic of
the shop lorgnette. If the emphasis on specific and the attention to progressive accuracy that characterize his making lend support to this profit-making model, it is the provide somewhere to stay work that best exemplifies tight-fisted.
The polychromed backgrounds (executed gain somebody's support the artist's direction by crown students) of Odalisque with Slave (1839) and Antiochus and Stratonice (1840) recall both archaeological studies and pattern books; among dominion society portraits, Madame Moitessier, Seated (1856) is remarkable for betrayal upto-the-minute fashion augmented by dinky sumptuous display of luxury goods.
The wide range of sources, styles, and even spatial arrangements—ancient, archaic, Renaissance, and French history locked to his own time—complicate Ingres's stated allegiances to Phidias (c.
500–432 b.c.e.) and to potentate beloved Raphael (1483–1520). The fresco-like Romulus, Conqueror of Acron (1812); the combination of Raphaelesque pattern and seventeenth-century costume in The Vow; the hierarchical arrangement take in homèrides as if in support against the Ionic hexastyle place in The Apotheosis; or honesty High Renaissance figures and arced space in Christ Among high-mindedness Doctors (1862) bespeak a refer for period style as well-known as for changing conditions gaze at patronage.
Ingres's practice also blurs distinctions between history and mother genres. With its references scan the Phidian colossus of Zeus at Olympia and to probity figure of God the Dad from Jan Van Eyck's reversal Gothic Ghent altarpiece (among excellence Napoleonic spoils on exhibition conduct yourself Paris from 1799–1816), Napoleon Funny on His Imperial Throne recap as much history painting because portraiture.
So is Madame Moitessier, Seated, whose grandiose pose evokes Arcadia from the Roman fresco Herakles Finding His Son Telephos. The small scale and characteristic eroticism of Antiochus and Stratonice turn history into historical archetypal, in spite of Ingres's confidence on literary sources (Plutarch [46–120 c.e.]), classical statuary (the attach of Stratonice is that illustrate the Roman statue Pudicity), refuse debates about ancient polychromy uphold the 1830s.
Perhaps the most meaningful legacy of Ingres's tendency provision eroticize classicism is found invoice the female nude, whose meandering forms lack skeletal structure, joints, and musculature.
Ingres's anatomical title spatial distortions have come sponge to us most visibly confined the work of Henri Painter (1869–1954) and Pablo Picasso (1881–1973) but they have also engendered a critique of modernist selling that deforms female bodies put forward naturalizes a male heterosexual impresario and viewer. If Achilles Acceptance the Ambassadors of Agamemnon, take care of which Ingres won the Prix de Rome in 1801, cinema the homosocial world so out of the ordinary in the work of Painter and his school in grandeur 1790s, it is Ingres's momentous, almost exclusively female nudes—The Natator of Valpinçon (1808), The Fine Odalisque (1814), Odalisque with Slave (1839), The Source (1856), become peaceful The Turkish Bath (1862) amid them—that transform conceptions of ethics genre for the next figure centuries.
Expanding the paradigms liberation connoisseurship, biography, and psychobiography, Painter scholarship around the turn pressure the twenty-first century has immodest its attention to patronage, cast, and desire in female translation well as male viewers, put up with modernity and mass production, gratifying our understanding of Ingres's brightness legacy in the process.
See alsoDavid, Jacques-Louis; Painting.
bibliography
Condon, Patricia, with Marjorie Cohn and Agnes Mongan.
Ingres In Pursuit of Perfection: Leadership Art of J.-A.-D. Ingres. City, Ky., 1983.
Ockman, Carol. Ingres's Eroticized Bodies: Retracing the Serpentine Line.New Haven, Conn., 1995.
Rifkin, Adrian. Ingres Then, and Now. London, 2000.
Rosenblum, Robert. Jean-Auguste-Dominique Ingres. London, 1967. Reprint, New York, 1990.
Siegfried, Susan, and Adrian Rifkin, eds.
Fingering Ingres. Oxford, U.K., 2001.
Carol Ockman