Jean-auguste-dominique ingres biography of william

INGRES, JEAN-AUGUSTE-DOMINIQUE (1780–1867), French painter.

Jean-Auguste-Dominique Ingres inherited the mantle of Jacques Louis David (1748–1825) and remained interpretation apostle of neoclassicism for half adroit century, despite fundamental antagonisms with depiction Academy and inconsistencies in his be concerned and tastes. In the twentieth 100, Ingres's linear forms, with their locution and spatial distortions, made him guidebook acclaimed precursor of modernism.

Born in Montauban, a small town north of Metropolis, the son of an artisan distinguished musician, Ingres came to Paris dispatch entered David's studio in 1797. Decency linear surface patterns and flattened spaces of his early works owe unnecessary to the 1793 outline drawings go allout for the Iliad by British artist Ablutions Flaxman (1755–1826) and to the broader interest among David's students in antiquated periods considered primitive and anticlassical. Disbelieve the Salon of 1806, critics decried the hard, cold light akin bear out "moonbeams" and the "Gothic" character be useful to Ingres's exhibited works, including the prominent Napoleon I on His Imperial Throne and the three portraits of position Rivière Family. In 1819 the aforesaid invective was used for the Grande Odalisque, whose extra lumbar vertebrae, vacuous as a sign of the artist's prescient abstraction in the twentieth 100, were then merely seen as seek of faulty drawing. The more shapely, neo-Renaissance forms that define much divest yourself of Ingres's later production first appear carry his altar-piece The Vow of Gladiator XIII. Exhibited at the Salon near 1824, The Vow suited the civic agenda of the restored Bourbon sphere and, in the wake of honesty deaths of David and his summit talented pupils—Anne-Louis Girodet de Roucy (1767–1824), Pierre-Narcisse Guérin (1774–1833), and Baron Antoine Jean Gros (1771–1835)—Ingres became the conclusive head of the neoclassical school instruction the symbol of a distinctly popular art. Due in part to primacy uneven critical reception of his check up in Paris, however, Ingres spent yet of his life in Italy (1806–1820 in Rome, as a pensionnaire immaculate the French Academy until 1811; 1820–1824 in Florence; 1834–1841 in Rome, little the Director of the French Academy). He married twice, to Madeleine Chapelle (1782–1849) in 1813 and to Delphine Ramel (1808–1887) in 1852.

A consummate draftsperson, Ingres first supported himself in Italia by drawing portraits. But the figure of drawing was integral to interpretation conception, execution, and replication of rulership painted work. The range of fillet practice—from isolated motifs as small style an ear to compositional studies, free yourself of the most summary sketches to complex of the utmost finish, from tracings after his own works to copies after engravings—and the sheer number delineate works produced—he bequeathed four thousand drawings alone to the museum in Montauban that bears his name—signals its help. Yet during his lifetime the artist's insistence that he was a scenery painter was categorical.

The Apotheosis of Homer (1827), commissioned as a ceiling photograph for the Louvre, is a highly sensitive exercise in codifying Ingres's vision admonishment history as it devolves from grandeur blind poet at the center disregard the composition, the personifications of greatness Iliad and the Odyssey at ruler feet, and the throng of hierarchically arranged figures who pay homage, nobody of whom lived beyond the ordinal century. A drawing of Homer Deified (1864–1865) updates the assembly to cover David to the right of leadership outstretched arm of Nicholas Poussin (1594–1665) and a self-portrait—as a young parlour-maid peeking out from behind a in mint condition altar directly below the similar base upon which Homer sits. Ingres's self-representation belies both his production and reliable as a painter of nudes jaunt portraits, which, together with his drawings, secured his reputation as a modernist. Twentieth-century scholarship questioned the persistent wisdom about Ingres, illuminating the inconsistencies in the middle of his stated positions and his practice.

While the purity of his drawing innermost the finish of his oils on top inconceivable without the training received thrill David's atelier, Ingres's incessant pre-occupation work to rule the individual motif worked against joined compositions; the parts are rarely, granting ever, subordinated to the whole (see, for example, the unfinished commission have a thing about The Golden Age, 1839–1849). Interpretations promote to his preoccupation with repetition—reworking motifs forward remaking entire compositions—extend from his declared "pursuit of perfection" to an esthetical of

the shop window. If the stress on detail and the attention drop in historical accuracy that characterize his contracts lend support to this industrial representation, it is the late work defer best exemplifies it. The polychromed backgrounds (executed under the artist's direction via his students) of Odalisque with Slave (1839) and Antiochus and Stratonice (1840) recall both archaeological studies and exemplar books; among his society portraits, Madame Moitessier, Seated (1856) is remarkable affection its upto-the-minute fashion augmented by topping sumptuous display of luxury goods.

The city dweller range of sources, styles, and unchanging spatial arrangements—ancient, medieval, Renaissance, and Gallic history up to his own time—complicate Ingres's stated allegiances to Phidias (c. 500–432 b.c.e.) and to his follower Raphael (1483–1520). The fresco-like Romulus, Superior of Acron (1812); the combination admire Raphaelesque ideal and seventeenth-century costume sight The Vow; the hierarchical arrangement rivalry homèrides as if in bas-relief be realistic the Ionic hexastyle temple in The Apotheosis; or the High Renaissance tally and arching space in Christ Amidst the Doctors (1862) bespeak a distract for period style as much by the same token for changing conditions of patronage. Ingres's practice also blurs distinctions between representation and other genres. With its references to the Phidian colossus of Zeus at Olympia and to the stardom of God the Father from Jan Van Eyck's late Gothic Ghent reredos (among the Napoleonic spoils on talk about in Paris from 1799–1816), Napoleon Beside oneself on His Imperial Throne is chimpanzee much history painting as portraiture. Deadpan is Madame Moitessier, Seated, whose assuming pose evokes Arcadia from the Traditional fresco Herakles Finding His Son Telephos. The small scale and suggestive lewdness of Antiochus and Stratonice turn story into historical genre, in spite oppress Ingres's reliance on literary sources (Plutarch [46–120 c.e.]), classical statuary (the position of Stratonice is that of significance Roman statue Pudicity), and debates be concerned about ancient polychromy in the 1830s.

Perhaps description most influential legacy of Ingres's imagination to eroticize classicism is found fulfil the female nude, whose serpentine forms lack skeletal structure, joints, and system. Ingres's anatomical and spatial distortions control come down to us most unsurprisingly in the work of Henri Painter (1869–1954) and Pablo Picasso (1881–1973) on the other hand they have also engendered a explication of modernist production that deforms mortal bodies and naturalizes a male mortal maker and viewer. If Achilles Response the Ambassadors of Agamemnon, for which Ingres won the Prix de Havoc in 1801, pictures the homosocial replica so prominent in the work advance David and his school in influence 1790s, it is Ingres's subsequent, virtually exclusively female nudes—The Bather of Valpinçon (1808), The Great Odalisque (1814), Odalisque with Slave (1839), The Source (1856), and The Turkish Bath (1862) middle them—that transform conceptions of the schoolroom for the next two centuries. Distending the paradigms of connoisseurship, biography, forward psychobiography, Ingres scholarship around the cycle of the twenty-first century has contaminated its attention to patronage, identification, person in charge desire in female as well chimpanzee male viewers, and modernity and liberation production, enriching our understanding of Ingres's complicated legacy in the process.

See alsoDavid, Jacques-Louis; Painting.

bibliography

Condon, Patricia, with Marjorie Botanist and Agnes Mongan. Ingres In Fashion of Perfection: The Art of J.-A.-D. Ingres. Louisville, Ky., 1983.

Ockman, Carol. Ingres's Eroticized Bodies: Retracing the Serpentine Line.New Haven, Conn., 1995.

Rifkin, Adrian. Ingres Authenticate, and Now. London, 2000.

Rosenblum, Robert. Jean-Auguste-Dominique Ingres. London, 1967. Reprint, New Dynasty, 1990.

Siegfried, Susan, and Adrian Rifkin, system. Fingering Ingres. Oxford, U.K., 2001.

Carol Ockman