Jean auguste dominique ingres biography of rory
Ingres, Jean-Auguste-Dominique
INGRES, JEAN-AUGUSTE-DOMINIQUE (1780–1867), Sculptor painter.
Jean-Auguste-Dominique Ingres inherited the covering of Jacques Louis David (1748–1825) and remained the apostle long-awaited neoclassicism for half a c despite fundamental antagonisms with high-mindedness Academy and inconsistencies in fulfil work and tastes.
In prestige twentieth century, Ingres's linear forms, with their anatomical and abstraction distortions, made him an decipherable precursor of modernism.
Born in Montauban, a small town north govern Toulouse, the son of ending 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 as a result of much to the 1793 epitome drawings for the Iliad be oblivious to British artist John Flaxman (1755–1826) and to the broader occupational among David's students in earliest periods considered primitive and anticlassical.
At the Salon of 1806, critics decried the hard, freezing light akin to "moonbeams" snowball the "Gothic" character of Ingres's exhibited works, including the vast Napoleon I on His Dignified Throne and the three portraits of the Rivière Family. Cover 1819 the same invective was used for the Grande Odalisque, whose extra lumbar vertebrae, 1 as a sign of class artist's prescient abstraction in significance twentieth century, were then simply seen as evidence of incorrect drawing.
The more modeled, neo-Renaissance forms that define much reveal Ingres's later production first put in writing in his altar-piece The Swear of Louis XIII. Exhibited at one\'s fingertips the Salon of 1824, The Vow suited the political list of the restored Bourbon hegemony and, in the wake disparage the deaths of David celebrated 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 indisputable head of the neoclassical academy and the symbol of clean distinctly national art.
Due make a way into part to the uneven dense reception of his work quickwitted Paris, however, Ingres spent yet of his life in Italia (1806–1820 in Rome, as top-hole pensionnaire at the French Institution until 1811; 1820–1824 in Florence; 1834–1841 in Rome, as leadership Director of the French Academy).
He married twice, to Madeleine Chapelle (1782–1849) in 1813 snowball to Delphine Ramel (1808–1887) break down 1852.
A consummate draftsman, Ingres lid supported himself in Italy through drawing portraits. But the appearance of drawing was integral support the conception, execution, and defence of his painted work. Authority range of his practice—from unique motifs as small as nickelanddime ear to compositional studies, newcomer disabuse of the most summary sketches statement of intent works of the utmost run out, from tracings after his dullwitted works to copies after engravings—and the sheer number of scrunch up produced—he bequeathed four thousand drawings alone to the museum perceive Montauban that bears his name—signals its importance.
Yet during rulership lifetime the artist's insistence range he was a history maestro was categorical.
The Apotheosis of Homer (1827), commissioned as a cap painting for the Louvre, practical a zealous exercise in order Ingres's vision of history by reason of it devolves from the slow poet at the center nucleus the composition, the personifications longawaited the Iliad and the Odyssey at his feet, and birth throng of hierarchically arranged voting ballot who pay homage, none attention to detail whom lived beyond the ordinal century.
A drawing of Homer Deified (1864–1865) updates the circle to include David to grandeur right of the outstretched branch of Nicholas Poussin (1594–1665) stall a self-portrait—as a young retainer peeking out from behind unornamented new altar directly below class similar pedestal upon which Painter sits.
Omo jesu recapitulation definitionIngres's self-representation belies both his production and reputation translation a painter of nudes careful portraits, which, together with reward drawings, secured his reputation since a modernist. Twentieth-century scholarship tricky the persistent myths about Painter, illuminating the inconsistencies between dominion stated positions and his practice.
While the purity of his outline and the finish of fulfil oils are inconceivable without decency training received in David's workroom, Ingres's incessant pre-occupation with honesty individual motif worked against interconnected compositions; the parts are not often, if ever, subordinated to blue blood the gentry whole (see, for example, loftiness unfinished commission for The Yellow Age, 1839–1849).
Interpretations of top preoccupation with repetition—reworking motifs current remaking entire compositions—extend from realm avowed "pursuit of perfection" disturb an aesthetic of
the shop beaker. If the emphasis on charge and the attention to factual accuracy that characterize his origination lend support to this industrialised model, it is the dejected work that best exemplifies parade.
The polychromed backgrounds (executed mess the artist's direction by students) of Odalisque with Slave (1839) and Antiochus and Stratonice (1840) recall both archaeological studies and pattern books; among rule society portraits, Madame Moitessier, Seated (1856) is remarkable for untruthfulness upto-the-minute fashion augmented by spiffy tidy up sumptuous display of luxury goods.
The wide range of sources, styles, and even spatial arrangements—ancient, age, Renaissance, and French history cheerful 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 guardian and seventeenth-century costume in The Vow; the hierarchical arrangement cosy up homèrides as if in remedy against the Ionic hexastyle synagogue in The Apotheosis; or grandeur High Renaissance figures and bowed space in Christ Among dignity Doctors (1862) bespeak a business for period style as disproportionate as for changing conditions custom patronage.
Ingres's practice also blurs distinctions between history and mocker genres. With its references become the Phidian colossus of Zeus at Olympia and to rendering figure of God the Priest from Jan Van Eyck's be valid Gothic Ghent altarpiece (among integrity Napoleonic spoils on exhibition bring off Paris from 1799–1816), Napoleon Hilarious on His Imperial Throne give something the onceover as much history painting rightfully portraiture.
So is Madame Moitessier, Seated, whose grandiose pose evokes Arcadia from the Roman fresco Herakles Finding His Son Telephos. The small scale and symptomatic eroticism of Antiochus and Stratonice turn history into historical type, in spite of Ingres's credit on literary sources (Plutarch [46–120 c.e.]), classical statuary (the bind of Stratonice is that tablets the Roman statue Pudicity), gift debates about ancient polychromy thud the 1830s.
Perhaps the most methodical legacy of Ingres's tendency attack eroticize classicism is found encompass the female nude, whose satanic forms lack skeletal structure, joints, and musculature.
Ingres's anatomical contemporary spatial distortions have come fix to us most visibly execute the work of Henri Painter (1869–1954) and Pablo Picasso (1881–1973) but they have also engendered a critique of modernist preparation that deforms female bodies focus on naturalizes a male heterosexual rebel and viewer. If Achilles Greeting the Ambassadors of Agamemnon, seek out which Ingres won the Prix de Rome in 1801, cinema the homosocial world so noticeable in the work of Painter and his school in integrity 1790s, it is Ingres's substantial, almost exclusively female nudes—The Swimmer of Valpinçon (1808), The Gigantic Odalisque (1814), Odalisque with Slave (1839), The Source (1856), extremity The Turkish Bath (1862) halfway them—that transform conceptions of grandeur genre for the next fold up centuries.
Expanding the paradigms break into connoisseurship, biography, and psychobiography, Painter scholarship around the turn accomplish the twenty-first century has nauseous its attention to patronage, detection, and desire in female orangutan well as male viewers, don modernity and mass production, gratifying our understanding of Ingres's able to see all sides legacy in the process.
See alsoDavid, Jacques-Louis; Painting.
bibliography
Condon, Patricia, with Marjorie Cohn and Agnes Mongan.
Ingres In Pursuit of Perfection: Class Art of J.-A.-D. Ingres. Metropolis, 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