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Ingres ' pupil Théodore Chassériau ( 1819 – 1856 ) had already achieved success with his nude The Toilette of Esther ( 1841, Louvre ) and equestrian portrait of Ali-Ben-Hamet, Caliph of Constantine and Chief of the Haractas, Followed by his Escort ( 1846 ) before he first visited the East, but in later decades the steamship made travel much easier and increasing numbers of artists traveled to the Middle East and beyond, painting a wide range of Oriental scenes.
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Ingres and pupil
Another pupil of David's, Jean Auguste Dominique Ingres became the most important artist of the restored Royal Academy and the figurehead of the Neoclassical school of art, engaging the increasingly popular Romantic school of art that was beginning to challenge Neoclassicism.
Ingres's pupil Amaury-Duval wrote of him: " With this facility of execution, one has trouble explaining why Ingres ' oeuvre is not still larger, but he scraped out work frequently, never being satisfied ... and perhaps this facility itself made him rework whatever dissatisfied him, certain that he had the power to repair the fault, and quickly, too.
He was accepted into the studio of Jean-Auguste-Dominique Ingres in 1830, at the age of eleven, becoming the favorite pupil of the great classicist, who came to regard him as his truest disciple.
He was trained in early youth as a trade lithographer, until Guichard, a pupil of Ingres, took him to his studio.
Around 1857 Enrico Pollastrini, another pupil of Giuseppe Bezzuoli, introduced him to the style of Ingres.
Ingres and Théodore
* Notable draftsmen of the 19th century include Paul Cézanne, Aubrey Beardsley, Jacques Louis David, Pierre-Paul Prud ' hon, Edgar Degas, Théodore Géricault, Francisco Goya, Jean Ingres, Odilon Redon, Henri de Toulouse-Lautrec, Honoré Daumier, and Vincent van Gogh.
* Musée de Tessé, the fine arts museum of the city, displaying painting ( including artworks by Philippe de Champaigne, Charles Le Brun, François Boucher, John Constable, Ingres, Théodore Géricault and Camille Corot ) and archaeological collections as well as decorative arts.
The best known of them is Théodore Chassériau, who studied with him from 1830, as a precocious eleven-year-old, until Ingres closed his studio in 1834 to return to Rome.
* At the age of eleven, Théodore Chassériau is accepted into the studio of Ingres.
Ingres and Chassériau
Ingres considered Chassériau his truest disciple — even predicting, according to an early biographer, that he would be " the Napoleon of painting.
" By the time Chassériau visited Ingres in Rome in 1840, however, the younger artist's growing allegiance to the romantic style of Delacroix was apparent, leading Ingres to disown his favorite student, of whom he never again spoke favorably.
After Ingres left Paris in 1834 to become director of the French Academy in Rome, Chassériau fell under the influence of Eugène Delacroix, whose brand of painterly colorism was anathema to Ingres.
In 1840 Chassériau travelled to Rome and met with Ingres, whose bitterness at the direction his student's work was taking led to a decisive break.
Ingres and 1819
Jean Auguste Dominique Ingres, Gianciotto Discovers Paolo and Francesca ( 1819 ).
* Jean-Auguste-Dominique Ingres, Paolo and Francesca ( 1819 ).
Ingres and –
Versailles found its stately mirror in the powerful idea of classicism – a painting style, enduring in later artists like Ingres, whose austerity and grandeur express the authority of a world where Jove is very much in his throne.
* 1780 – Jean Auguste Dominique Ingres, French painter ( d. 1867 )
* January 14 – Jean Auguste Dominique Ingres, French painter ( b. 1780 )
* August 29 – Jean Auguste Dominique Ingres, French painter ( d. 1867 )
* August 29 – Jean Auguste Dominique Ingres, French painter ( d. 1867 )
* Jean Auguste Dominique Ingres ( 1780 – 1867 )
Jean-Auguste-Dominique Ingres (; 29 August 1780 – 14 January 1867 ) was a French Neoclassical painter.
Ingres was born in Montauban, Tarn-et-Garonne, France, the first of seven children ( five of whom survived infancy ) of Jean-Marie-Joseph Ingres ( 1755 – 1814 ) and his wife Anne Moulet ( 1758 – 1817 ).
* Parker, Robert Allerton, 1926, " Ingres: The Apostle of Draughtsmanship ", International Studio 83 ( March 1926 ): pp. 24 – 32.
* Schwartz, Sanford, 2006, " Ingres vs. Ingres ", The New York Review of Books 53: 12 ( 2005 ): pp. 4 – 6.
* Jean Auguste Dominique Ingres – Jupiter and Thetis
* Jean Auguste Dominique Ingres – The Apotheosis of Homer
* Jean Auguste Dominique Ingres ( French, 1780 – 1867 ) Neoclassical and Romantic exponent of " academic art "
* Jean Auguste Dominique Ingres – Portrait of Monsieur Bertin
* Jean Auguste Dominique Ingres – The Turkish Bath ( original form )
* Madeleine Chapelle ( 1782 – 1849 ), the wife and model of painter Dominique Ingres.
A portrait in the National Gallery, London of Jacques de Norvins by Ingres was painted in 1811 – 12 when the sitter was Napoleon's Chief of Police in Rome.
Ingres and 1856
The last of his important portrait paintings date from this period: Marie-Clothilde-Inés de Foucauld, Madame Moitessier, Seated ( 1856 ), Self-Portrait at the Age of Seventy-nine and Madame J .- A .- D. Ingres, née Delphine Ramel, both completed in 1859.
Óleo sobre lienzo, 163 x 80 cm ). jpg | Jean Auguste Dominique Ingres, The Source, 1856
* 1856 in art-Jean Auguste Dominique Ingres completes Mme.
He worked in the classicist manner of Ingres until, after winning the Prix de Rome, he went to Italy ; in 1856, and abandoned the ideal of Raphaelesque perfection for the sincerity and severity of the quattrocentists.
Ingres and had
Julie Forestier, when asked years later why she had never married, responded, " When one has had the honor of being engaged to M. Ingres, one does not marry.
Although facing uncertain prospects, in 1813 Ingres married a young woman, Madeleine Chapelle, who had been recommended to him by her friends in Rome.
These paintings epitomized, both in subject and scale, the type of painting with which Ingres was determined to make his reputation, but, as Philip Conisbee has written, " for all the high ideals that had been drummed into Ingres at the academies in Toulouse, Paris, and Rome, such commissions were exceptions to the rule, for in reality there was little demand for history paintings in the grand manner, even in the city of Raphael and Michelangelo.
Ingres and his wife moved to Florence in 1820 at the urging of the Florentine sculptor Lorenzo Bartolini, an old friend from his years in Paris, who hoped that Ingres would improve his position materially, but Ingres, as before, had to rely on his drawings of tourists and diplomats for support.
With renewed confidence Ingres now took up and completed one of his most charming productions, The Source, a figure for which he had painted the torso in 1823 ; when it was seen with other works in London in 1862, admiration for his works was renewed, and he was given the title of senator by the imperial government.
" Nevertheless, Cherubini had many friends, including Rossini, Chopin and, above all, the artist Ingres.
The two had mutual interests: Cherubini was a keen amateur painter and Ingres enjoyed practising the violin.
Many of the 149 works in the exhibit had never been seen outside France and included Liberty Leading the People by Eugène Delacroix, Jupiter and Thetis by Jean Auguste Dominique Ingres and a portrait of Maximilien Robespierre by Adélaïde Labille-Guiard.
However, Montagu's detailed descriptions of nude Oriental beauties provided inspiration for male artists such as Ingres, who restored the explicitly erotic content that Montagu had denied.
: Whereas Matisse had drawn upon a long tradition of European painting — from Giorgione, Poussin, and Watteau to Ingres, Cézanne, and Gauguin — to create a modern version of a pastoral paradise in Le bonheur de vivre, Picasso had turned to an alien tradition of primitive art to create in Les Demoiselles a netherworld of strange gods and violent emotions.
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