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Jean Auguste Dominique Ingres

The major French painters of the first half of the 19th century were Eugène Delacroix and Ingres {ang'-gruh}, who were then seen as leaders of the opposed styles of romanticism and neoclassicism. Jean Auguste Dominique Ingres, b. Aug. 29, 1780, d. Jan. 14, 1867, learned drawing from his sculptor father before attending the Academy of Art in Toulouse from 1791.

The Grand Odalisque

"The Grand Odalisque"
by Jean Auguste Ingres
Louvre, Paris

In 1797 he entered Jacques Louis David's studio in Paris. He won the Prix de Rome in 1801, but lack of government funds prevented him from going to Italy until 1806. He remained there until 1824, later supporting himself by painting portraits.

The neoclassicism of Ingres's style was already apparent in the painting that won him the Prix de Rome, The Ambassadors of Agamemnon Arriving at the Tent of Achilles (1801; Ecole des Beaux-Arts, Paris). Stress on line was an important part of this style. Although classical antiquity often inspired Ingres, his iconic portrait of Napoleon (1806; Musee de l'Armee, Paris) was influenced by Byzantine art and Jan van Eyck.

While in Italy Ingres sent paintings to Paris for exhibition, but they were frequently attacked because of their unorthodox style. He rejected the influence of any artist after the 16th-century Italian painter Raphael and vigorously defended his preference for classical art.

Mademoiselle Riviere

"Mademoiselle Rivière"
by Jean Auguste Ingres
Louvre, Paris

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In 1824 he returned to France to show his important religious painting The Vow of Louis XIII (1823; Montaubon Cathedral, France), which met with a triumphant success and appealed to both neoclassical and romantic tastes. Ingres became famous: Charles X awarded him the Cross of the Legion of Honor; he was elected to the Academy of Fine Arts and opened a large, flourishing studio. He was to remain in Paris for the rest of his life, except for the period 1834-41, when he was director of the French Academy in Rome.

He painted historical and religious subjects throughout his career and was also drawn to exotic Levantine subjects, notably a series of bathers (begun 1807), of which the most famous are the Turkish Bath (1859-63; Louvre, Paris) and The Grand Odalisque (1814; Louvre). Ingres also executed commissions for portraits, in which his meticulous method of painting captured details and textures with astounding verisimilitude. The polemical distinction between romantic and neoclassic, which Ingres himself did much to enforce, cannot be applied to his work dogmatically. His enormous canvas The Dream of Ossian (1813; Musée Ingres, Montauban), originally intended to decorate a palace in which Napoleon was expected to stay while in Rome, is thoroughly romantic in subject and style. The nonclassical enthusiasms of his time are reflected in his taste for Eastern subjects and historical romances.


Kenneth Bendiner, Assistant Professor of Art, Wellesley College, Wellesley, Mass.
Source: The Grolier Multimedia Encyclopedia, Release #9.01, ©1997.
Bibliography: W. Pach, Ingres (1939; repr. 1983); G. Picon, Ingres (1991); R. Rosenblum, Ingres (1967; repr. 1990).
Images: "The Grand Odalisque", 1814 (Louvre, Paris/Photo Explorer); "Mademoiselle Rivière", 1805 (Louvre, Paris/Giraudon/Art Resource, NY).
Copyrights Notice and Disclaimer: Images of artists' works displayed throughout this site have been obtained from numerous sources, including digital libraries at educational institutions, educational software, and Mark Harden's Artchive. Credit is attributed when known. Some works are considered to be in the public domain, based on current U.S. and international copyright acts. For more information on copyright laws, please refer to the Artists Rights Society and Benedict O'Mahoney's The Copyright Web Site. [See also: DiscoverFrance.net Copyrights.]

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