David's many students included Jean Auguste Dominique Ingres, who saw himself as a classicist throughout his long career, despite a mature style that has an equivocal relationship with the main current of Neoclassicism, and many later diversions into Orientalism and the Troubadour style that are hard to distinguish from those of his unabashedly Romantic contemporaries, except by the primacy his works always give to drawing.

History painting was the dominant form of academic painting in the various national academies in the 18th century, and for most of the 19th ; in France artists such as Henri Jean-Baptiste Victoire Fradelle, Antoine-Jean, Baron Gros, Jacques-Louis David, Ingres, Claude Joseph Vernet, Carle Vernet, Pierre-Narcisse Guérin were among the leading figures.

The chief churches of Montauban are the cathedral, remarkable only for the possession of the " Vow of Louis XIII ", one of the masterpieces of Ingres, and the church of St Jacques ( 14th and 15th centuries ), dedicated to Saint James of Compostela, the façade of which is surmounted by a handsome octagonal tower, the base of which is in Romanesque style, while the upper levels, built later, are in Gothic style.

In the summer of 1806 Ingres became engaged to Marie-Anne-Julie Forestier, a painter and musician, before leaving for Rome in September.

In later years Ingres painted variants of both compositions ; another nude begun in 1807, the Venus Anadyomene, remained in an unfinished state for decades, to be completed forty years later and finally exhibited in 1855.

Only Eugène Delacroix and other pupils of Pierre-Narcisse Guérin — the leaders of that romantic movement for which Ingres throughout his long life always expressed the deepest abhorrence — seem to have recognized his merits.

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.

During this low point of his career, Ingres was forced to depend for his livelihood on the execution, in pencil, of small portrait drawings of the many tourists, in particular the English, passing through postwar Rome.

In 1817 the Count of Blacas, who was ambassador of France to the Holy See, provided Ingres with his first official commission since 1814, for a painting of Christ Giving the Keys to Peter.

During this period, Ingres formed friendships with musicians including Paganini, and regularly played the violin with others who shared his enthusiasm for Mozart, Haydn, Gluck, and Beethoven.

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.

Resentful and disgusted, Ingres resolved never again to work for the public, and gladly availed himself of the opportunity to return to Rome, as director of the École de France, in the room of Horace Vernet.

One of only two works sent back to Paris during Ingres ' six year term as Director of the French Academy in Rome, the Stratonice was exhibited for several days in mid-August 1840 in the private apartment of the duc d ' Orléans in the Pavilion Marsan of the Palais des Tuileries.

While lampooned in Le Corsaire for its lofty subject matter yet extremely modest proportions ( less than one metre across ), overall the work was warmly received ; so much so that on his return to Paris in June 1841, Ingres was received with all the deference that he felt was his due, including being received personally by King Louis-Philippe for a tour around Versailles.

In 1855 Ingres consented to rescind his resolution, more or less strictly kept since 1834, in favour of the International Exhibition, where a room was reserved for his works.

Andromeda has been the subject of numerous ancient and modern works of art, including, Andromeda Chained to the Rocks ( Rembrandt ), one of Titian's poesies ( Wallace Collection ), and compositions by Joachim Wtewael ( Louvre ), Veronese ( Rennes ), Rubens, Ingres, and Gustave Moreau.

From the beginning of his career, Ingres freely borrowed from earlier art, adopting the historical style appropriate to his subject, leading critics to charge him with plundering the past.

Mining the vein of the small-scale historical genre piece, in 1815 he painted Aretino and the Envoy of Charles V as well as Aretino and Tintoretto, an anecdotal painting whose subject, a painter brandishing a pistol at his critic, may have been especially satisfying to the embattled Ingres.

The treatment of this subject by Ingres is indicative of Leonardo's iconic status and also specifically that he was of particular significance to the school of French Classicism.

In 1855, Degas met Jean Auguste Dominique Ingres, whom he revered, and whose advice he never forgot: " Draw lines, young man, and still more lines, both from life and from memory, and you will become a good artist.

In an 1839 letter, Franz Liszt described his playing as " charming ", and planned to play through all the Mozart and Beethoven violin sonatas with Ingres.

While the movement is often described as the opposed counterpart of Romanticism, this is a great over-simplification that tends not to be sustainable when specific artists or works are considered, the case of the supposed main champion of late Neoclassicism, Ingres, demonstrating this especially well.

Ingres's well-known passion for playing the violin gave to the French language a colloquialism, " violon d ' Ingres ", meaning a second skill beyond the one by which a person is mainly known.

* Barousse, Pierre, 1979, " The drawings of Ingres or the poetry in his work ", Ingres: Drawings from the Musee Ingres at Montauban and other collections ( catalogue ), Arts Council of Great Britain.

* 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.

When Ingres, the director of the French Académie de peinture, painted a highly colored vision of a Turkish bath ( illustration, right ), he made his eroticized Orient publicly acceptable by his diffuse generalizing of the female forms ( who might all have been the same model.

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.

From his father the young Ingres received early encouragement and instruction in drawing and music, and his first known drawing, a study after an antique cast, was made in 1789.

Ingres signed and dated it in 1862, although he made additional revisions in 1863.

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.

Between 1877 and 1880, Khnopff made several trips to Paris where he discovered the work of Delacroix, Ingres, Moreau and Stevens.

Comparison is also made to Ingres ' La grande Odalisque ( 1814 ).

Ingres was first created as a research project at the University of California, Berkeley, starting in the early 1970s and ending in the early 1980s.

Postgres ( Post Ingres ), a project which started in the mid-1980s, later evolved into PostgreSQL.

The best-known examples are SEQUEL from IBM and QUEL from the Ingres project.

His argument, known as the Hockney-Falco thesis, is that great artists of the past, such as Ingres, Van Eyck, and Caravaggio did not work freehand but were guided by optical devices, specifically an arrangement using a concave mirror to project real images.

In 1811 Ingres finished his final student exercise, the immense Jupiter and Thetis, which was once again harshly judged in Paris.

Their marriage was a happy one, and Madame Ingres acquired a faith in her husband which enabled her to combat with courage and patience the difficulties of their common existence.

A commission from the government called forth the monumental Apotheosis of Homer, which Ingres eagerly finished in a year's time.

These murals, the Golden Age and the Iron Age, were begun in 1843 with an ardour which gradually slackened until Ingres, devastated by the loss of his wife on 27 July 1849, abandoned all hope of their completion and the contract with the Duc de Luynes was finally cancelled.

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.

After the completion of The Source, Ingres produced paintings of historical genre, such as two versions of Louis XIV and Molière, ( 1857 and 1860 ), as well as several religious works in which the figure of the Virgin from The Vow of Louis XIII is reprised: The Virgin of the Adoption of 1858 ( painted for Mademoiselle Roland-Gosselin ) was followed by The Virgin Crowned ( painted for Madame la Baronne de Larinthie ) and The Virgin with Child.

" Ingres drew his portrait drawings on wove paper, which provided a smooth surface very different from the ribbed surface of laid paper ( which is, nevertheless, sometimes referred to today as " Ingres paper ").

Among other works of art and literature to which Paglia applies her analysis of the Western canon are: the Venus of Willendorf, the Bust of Nefertiti, Ancient Greek sculpture, Donatello's David, Sandro Botticelli's Birth of Venus and Primavera, Leonardo Da Vinci's Mona Lisa and The Virgin and Child with St. Anne, Michelangelo, Edmund Spenser's The Faerie Queene, William Shakespeare's As You Like It and Antony and Cleopatra, Jean-Jacques Rousseau, Marquis de Sade, Johann Wolfgang von Goethe's Wilhelm Meister's Apprenticeship, William Blake, William Wordsworth, Samuel Taylor Coleridge's Rime of the Ancient Mariner, Lord Byron's Don Juan, Percy Bysshe Shelley, John Keats, Honoré de Balzac, Théophile Gautier, Charles Baudelaire, Joris-Karl Huysmans, Emily Brontë's Wuthering Heights, Edgar Allan Poe, Nathaniel Hawthorne, Herman Melville, Ralph Waldo Emerson, Walt Whitman, Henry James, The Pre-Raphaelites, Jean Auguste Dominique Ingres, Algernon Charles Swinburne, Walter Pater, Oscar Wilde's The Importance of Being Earnest and The Picture of Dorian Gray, and Emily Dickinson.

The old academy's art collection, which included major works by Poussin, David and Ingres, was removed to the Hermitage Museum across the river.

A. D. Ingres, turned to graphite, which gradually improved in quality and availability throughout Europe since the 17th century.

Initially this capability was integrated into ICL's own Querymaster query language, which worked in conjunction with the IDMS database ; subsequently it was integrated into the VME port of the Ingres relational database.

Sainte-Beuve introduced him to Courbet and he ordered a painting to add to his personal collection of erotic pictures, which already included ( The Turkish Bath ) from Ingres and another painting by Courbet, Les Dormeuses ( The Sleepers ), for which it is supposed that Hiffernan was one of the models.

However, the simplicity with which Velázquez displays the female nude — without jewellery or any of the goddess's usual accessories — was echoed in later nude studies by Ingres, Manet, and Baudry, among others.