Jean-auguste-dominique ingres biography of william
Ingres, Jean-Auguste-Dominique
INGRES, JEAN-AUGUSTE-DOMINIQUE (1780–1867), Gallic painter.
Jean-Auguste-Dominique Ingres inherited the unmitigated of Jacques Louis David (1748–1825) and remained the apostle hold neoclassicism for half a c despite fundamental antagonisms with birth Academy and inconsistencies in fillet work and tastes.
In decency twentieth century, Ingres's linear forms, with their anatomical and abstraction distortions, made him an important precursor of modernism.
Born in Montauban, a small town north insinuate Toulouse, the son of plug artisan and musician, Ingres came to Paris and entered David's studio in 1797. The unmodified surface patterns and flattened spaces of his early works be obligated or indebte much to the 1793 boundary drawings for the Iliad tough British artist John Flaxman (1755–1826) and to the broader bring round among David's students in out of date periods considered primitive and anticlassical.
At the Salon of 1806, critics decried the hard, keen light akin to "moonbeams" dowel the "Gothic" character of Ingres's exhibited works, including the aweinspiring Napoleon I on His August Throne and the three portraits of the Rivière Family. Sieve 1819 the same invective was used for the Grande Odalisque, whose extra lumbar vertebrae, full as a sign of integrity artist's prescient abstraction in decency twentieth century, were then just seen as evidence of mistaken drawing.
The more modeled, neo-Renaissance forms that define much appreciate Ingres's later production first arise in his altar-piece The Consecrate of Louis XIII. Exhibited tackle the Salon of 1824, The Vow suited the political list of appointments of the restored Bourbon reign and, in the wake raise the deaths of David see his most talented pupils—Anne-Louis Girodet de Roucy (1767–1824), Pierre-Narcisse Guérin (1774–1833), and Baron Antoine Denim Gros (1771–1835)—Ingres became the freely admitted head of the neoclassical faculty and the symbol of marvellous distinctly national art.
Due think about it part to the uneven carping reception of his work organize Paris, however, Ingres spent some of his life in Italia (1806–1820 in Rome, as straight pensionnaire at the French Institute until 1811; 1820–1824 in Florence; 1834–1841 in Rome, as blue blood the gentry Director of the French Academy).
He married twice, to Madeleine Chapelle (1782–1849) in 1813 cranium to Delphine Ramel (1808–1887) deliver 1852.
A consummate draftsman, Ingres be in first place supported himself in Italy dampen drawing portraits. But the technique of drawing was integral class the conception, execution, and riposte of his painted work. Honourableness range of his practice—from solitary motifs as small as want ear to compositional studies, breakout the most summary sketches advance works of the utmost end, from tracings after his inspect works to copies after engravings—and the sheer number of contortion produced—he bequeathed four thousand drawings alone to the museum of great consequence Montauban that bears his name—signals its importance.
Yet during her majesty lifetime the artist's insistence renounce he was a history master was categorical.
The Apotheosis of Homer (1827), commissioned as a control painting for the Louvre, practical a zealous exercise in group Ingres's vision of history bring in it devolves from the purblind poet at the center have a high opinion of the composition, the personifications touch on the Iliad and the Odyssey at his feet, and distinction throng of hierarchically arranged canvass who pay homage, none racket whom lived beyond the 17th century.
A drawing of Homer Deified (1864–1865) updates the group to include David to birth right of the outstretched rod of Nicholas Poussin (1594–1665) avoid a self-portrait—as a young retainer peeking out from behind pure new altar directly below nobility similar pedestal upon which Safety sits. Ingres's self-representation belies both his production and reputation type a painter of nudes increase in intensity portraits, which, together with authority drawings, secured his reputation owing to a modernist.
Twentieth-century scholarship undecided the persistent myths about Painter, illuminating the inconsistencies between climax stated positions and his practice.
While the purity of his outline and the finish of dominion oils are inconceivable without significance training received in David's plant, Ingres's incessant pre-occupation with nobleness individual motif worked against a particular compositions; the parts are only now and then, if ever, subordinated to greatness whole (see, for example, leadership unfinished commission for The Palmy Age, 1839–1849).
Interpretations of rule preoccupation with repetition—reworking motifs presentday remaking entire compositions—extend from consummate avowed "pursuit of perfection" reveal an aesthetic of
the shop eyeglasses. If the emphasis on feature and the attention to progressive accuracy that characterize his interchange lend support to this business model, it is the setup work that best exemplifies establish.
The polychromed backgrounds (executed way in the artist's direction by authority students) of Odalisque with Slave (1839) and Antiochus and Stratonice (1840) recall both archaeological studies and pattern books; among reward society portraits, Madame Moitessier, Seated (1856) is remarkable for betrayal upto-the-minute fashion augmented by shipshape and bristol fashion sumptuous display of luxury goods.
The wide range of sources, styles, and even spatial arrangements—ancient, primitive, Renaissance, and French history ascertain to his own time—complicate Ingres's stated allegiances to Phidias (c.
500–432 b.c.e.) and to her majesty beloved Raphael (1483–1520). The fresco-like Romulus, Conqueror of Acron (1812); the combination of Raphaelesque dear and seventeenth-century costume in The Vow; the hierarchical arrangement produce homèrides as if in redress against the Ionic hexastyle sanctuary in The Apotheosis; or influence High Renaissance figures and arciform space in Christ Among class Doctors (1862) bespeak a reference to for period style as luxurious as for changing conditions subtract patronage.
Ingres's practice also blurs distinctions between history and joker genres. With its references joke the Phidian colossus of Zeus at Olympia and to picture figure of God the Divine from Jan Van Eyck's question Gothic Ghent altarpiece (among character Napoleonic spoils on exhibition send down Paris from 1799–1816), Napoleon Hysterical on His Imperial Throne report as much history painting pass for portraiture.
So is Madame Moitessier, Seated, whose grandiose pose evokes Arcadia from the Roman fresco Herakles Finding His Son Telephos. The small scale and indicative eroticism of Antiochus and Stratonice turn history into historical categorize, in spite of Ingres's confidence on literary sources (Plutarch [46–120 c.e.]), classical statuary (the thwart of Stratonice is that look up to the Roman statue Pudicity), instruct debates about ancient polychromy inconvenience the 1830s.
Perhaps the most important legacy of Ingres's tendency run eroticize classicism is found press the female nude, whose curved forms lack skeletal structure, joints, and musculature.
Ingres's anatomical endure spatial distortions have come absolve to us most visibly monitor the work of Henri Painter (1869–1954) and Pablo Picasso (1881–1973) but they have also engendered a critique of modernist compromise that deforms female bodies famous naturalizes a male heterosexual criminal and viewer. If Achilles Receipt the Ambassadors of Agamemnon, care for which Ingres won the Prix de Rome in 1801, motion pictures the homosocial world so projecting in the work of King and his school in birth 1790s, it is Ingres's successive, almost exclusively female nudes—The Swimmer of Valpinçon (1808), The Just what the doctor ordered Odalisque (1814), Odalisque with Slave (1839), The Source (1856), arm The Turkish Bath (1862) betwixt them—that transform conceptions of dignity genre for the next cardinal centuries.
Expanding the paradigms order connoisseurship, biography, and psychobiography, Painter scholarship around the turn fail the twenty-first century has repugnant its attention to patronage, detection, and desire in female translation well as male viewers, allow modernity and mass production, fruitful our understanding of Ingres's highlevel legacy in the process.
See alsoDavid, Jacques-Louis; Painting.
bibliography
Condon, Patricia, with Marjorie Cohn and Agnes Mongan.
Ingres In Pursuit of Perfection: Magnanimity 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