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.

His friendship with Bartolini, whose worldly success in the intervening years stood in sharp contrast to Ingres's poverty, quickly became strained, and Ingres found new quarters.

This texture was the manner of the day and was also found in the works of Vernet, Ary Scheffer, Louis Léopold Robert and Jean Auguste Dominique Ingres.

One also finds in the early period of the 19th century a repeat of the debate carried on in the 17th between the supporters of Rubens and Poussin: there are defenders of the " line " as found in Jean Auguste Dominique Ingres, and the violent colors and curves as found in Eugène Delacroix.

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.

") Ingres thus left himself without the means of producing the necessary unity of effect when dealing with crowded compositions, such as the Apotheosis of Homer and the Martyrdom of Saint Symphorien.

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.

It was the combination of the past ( himself inspired by Ingres and Seurat ) with the present, and its progression into the future that most intrigued Metzinger.

The presumption is that this was overpainted with the curtain after the fall of Napoleon, either by Ingres himself, or another artist.

It comprises most of the work ( including his " Jesus among the Teachers of the Law ") of Jean Ingres, the celebrated painter, whose birth in Montauban is commemorated by an elaborate monument.

In 1841, Ingres produced the most celebrated portrait of the old composer.

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.

A summation of the theme of female voluptuousness attractive to Ingres throughout his life, rendered in the circular format of earlier masters.

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

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.

Francis I of France receiving the last breath of Leonardo da Vinci, by Ingres, 1818

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 ).

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.

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.

In France, both history painting and the Neoclassical style continued through the work of Antoine-Jean Gros, Jean Auguste Dominique Ingres, François Gérard, Anne-Louis Girodet de Roussy-Trioson, Pierre-Narcisse Guérin — teacher of both Géricault and Delacroix — and other artists who remained committed to the artistic traditions of David and Nicolas Poussin.

The Courtauld Institute of Art ( London ), Harvard University Art Museums, the Hermitage Museum, the Honolulu Museum of Art, Kunst Indeks Danmark, the Louvre, Musée d ' Art et d ' Histoire ( Geneva ), Musée des Augustins ( Toulouse, France ), Musée Ingres ( Montauban, France ), Museo Lombardi ( Parma, Italy ), the Museum of Fine Arts, Houston, the National Gallery, London, the National Portrait Gallery, London, the North Carolina Museum of Art, the Portland Art Museum and Versailles are among the public collections holding works by Pierre Mignard.

He traveled by way of the Netherlands and France to Rome, In Paris he met Peter Andreas Heiberg, August Bournonville and the French painter Jean Auguste Dominique Ingres.

He went on to study at the Académie de France in Rome, Italy, from 1834 to 1838 under the direction of Jean Auguste Dominique Ingres.

* laid paper ( e. g. Ingres ; Canson Mi Teintes )

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.

Ingres was stung ; the public was indifferent, and the strict classicists among his fellow artists looked upon him as a renegade.

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.

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.

No other artist who studied under Ingres succeeded in establishing a strong identity ; among the most notable of them were Jean-Hippolyte Flandrin, Henri Lehmann, and Eugène Emmanuel Amaury-Duval.

" Gianciotto Malatesta | Gianciotto Discovers Paolo Malatesta | Paolo and Francesca da Rimini | Francesca " by Jean Auguste Dominique Ingres ; it depicts the Divine Comedy.

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.

Throughout his life he was a prolific draftsman ; his many portrait drawings executed with a finely pointed graphite pencil are close in style to those of Ingres.

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.

His writings include Ingres, Fifty Life Drawings ( Museum of Fine Arts, Houston / Frick Collection, New York, 1986 ); Peinture et Regard ( Paris: Hermann, 1991, 1994 ; new, augmented edition 2011 ); On Depiction ( London: Bellew Publishing, 1995 ); and numerous essays published in such journals as the New York Review of Books, The New Republic, Commentaire, Literary Imagination, etc.

* January 14 – Jean Auguste Dominique Ingres, French painter ( b. 1780 )

Jean-Auguste-Dominique Ingres (; 29 August 1780 – 14 January 1867 ) was a French Neoclassical painter.

Ingres died of pneumonia on 17 January 1867, at the age of eighty-six, having preserved his faculties to the last.

* January 14-Jean Auguste Dominique Ingres, French Neoclassical painter ( b. 1780 )

In January 2010, the Government of Jordan announced that it has formed a partnership with Ingres Corporation, a leading open source database management company based in the United States that is now known as Actian Corporation, to promote the use of open source software starting with university systems in Jordan.

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.

Her first exposure to French artists Ingres, Delacroix, Corot, and Courbet was likely at the Paris World ’ s Fair of 1855.

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.

In 1791, Joseph Ingres took his son to Toulouse, where the young Jean-Auguste-Dominique was enrolled in the Académie Royale de Peinture, Sculpture et Architecture.

The following year brought a prestigious commission, when Ingres was one of five artists selected ( along with Jean-Baptiste Greuze, Robert Lefèvre, Charles Meynier, and Marie-Guillemine Benoist ) to paint full-length portraits of Napoleon Bonaparte as First Consul.

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.

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.

From 1826 to 1834 the studio of Ingres was thronged, and he was a recognized chef d ' école who taught with authority and wisdom while working steadily.

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.