The painting was commissioned in 1824 by the Ministry of the Interior for the Cathedral of Autun, and the iconography in the picture was specified by the bishop. [2] 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. Intanto, nel 1800, Ingres concorse per il prix de Rome, una borsa di studio che garantiva ai vincitori un periodo di perfezionamento artistico presso la città Eterna; pur risultando secondo (David, infatti, predilesse un altro suo allievo per evitare che partisse per il servizio militare), l'artista riuscì comunque ad aggiudicarsi l'ambito premio qualche anno dopo con l'esecuzione de Gli ambasciatori di Agamennone. [67], Ingres remained in Rome for six years. 1999, p. 70. He traveled to Orvieto (1835), Siena (1835), and to Ravenna and Urbino to study the paleochristian mosaics, medieval murals and Renaissance art. A dull and opaque effect is found in all their canvases. [15] Di seguito si riporta il commento di Pierre Barousse, custode del Musée Ingres (istituito nel 1854): «Il caso di Ingres è senza dubbio scioccante quando si realizza in quanti modi egli è considerato maestro da artisti a lui successivi, da quelli più schiettamente convenzionali vissuti nell'Ottocento, quali Cabanel o Bouguereau, a quelli più rivoluzionari del nostro secolo [n.d.r. [142] The particular pose and colouring of Ingres's Portrait of Monsieur Bertin also made a reappearance in Picasso's Portrait of Gertrude Stein (1906). It reprised a figure and theme he had been painting since 1828, with his Petite Baigneuse. sfn error: no target: CITEREFJover2005pages-228-229 (. ("Whatever you know, you must know it with sword in hand.") Ingres: Fifty Life Drawings from the Musée Ingres at Montauban, The Drawings of Ingres or the Poetry in his Work, Ingres: Drawings from the Musee Ingres at Montauban and other collections (catalogue), In Pursuit of Perfection: The Art of J.-A.-D. Ingres, Il Cricco Di Teodoro, Itinerario nell'arte, dall'età dei lumi ai giorni nostri, Jean-Auguste-Dominique Ingres (altra versione), Bibliografia di Jean-Auguste-Dominique Ingres, Cavaliere di Gran Croce dell'Ordine Imperiale di Nostra Signora di Guadalupe (Impero messicano), https://it.wikipedia.org/w/index.php?title=Jean-Auguste-Dominique_Ingres&oldid=118128577, P3762 multipla letta da Wikidata senza qualificatore, Voci biografiche con codici di controllo di autorità, licenza Creative Commons Attribuzione-Condividi allo stesso modo. "[17] From the beginning of his career, Ingres freely borrowed from earlier art, adopting the historical style appropriate to his subject, and was consequently accused by critics of plundering the past. See what is left after that. "[135], Delacroix himself was merciless toward Ingres. Baudelaire called him "the sole man in France who truly makes portraits. È noto che Ingres suonasse i quartetti per archi di Beethoven con Niccolò Paganini; analogamente, in una lettera del 1839 Franz Liszt definì il suo talento «incantevole». [68] He devoted considerable attention to music, one of the subjects of the academy; he welcomed Franz Liszt and Fanny Mendelssohn. The deficiency in his schooling would always remain for him a source of insecurity. Ingres became the principal proponent of French Neoclassical painting after the death of his mentor, Jacques-Louis David. He still had to depend upon his portraits and drawings for income, but his luck began to change. [110][111], Portrait of Marie-Françoise Rivière (1805–06), oil on canvas, 116.5 x 81.7 cm, Louvre, Portrait of Charles Marcotte (1810), National Gallery of Art, Washington DC, Portrait of Monsieur Bertin (1832), the Louvre, Portrait of Comtesse d'Haussonville (1845), Frick Collection, New York, Portrait of Baronne de Rothschild (1848), Rothschild Collection, Paris, While Ingres believed that history painting was the highest form of art, his modern reputation rests largely upon the exceptional quality of his portraits. [33] In 1810 Ingres's pension at the Villa Medici ended, but he decided to stay in Rome and seek patronage from the French occupation government. Among Ingres's historical and mythological paintings, the most satisfactory are usually those depicting one or two figures, such as Oedipus, The Half-Length Bather, Odalisque, and The Spring, subjects only animated by the consciousness of perfect physical well-being. The critic Charles Landon wrote: "After a moment of attention, one sees that in this figure there are no bones, no muscles, no blood, no life, no relief, no anything which constitutes imitation....it is evident that the artist deliberately erred, that he wanted to do it badly, that he believed in bringing back to life the pure and primitive manner of the painters of Antiquity; but he took for his model a few fragments from earlier periods and a degenerate execution, and completely lost his way. Giunto nella capitale francese poco prima del 18 fruttidoro dell'anno V (4 settembre 1797), Ingres apprese in questo ambiente gli ideali neoclassici e sviluppò la sua particolare armonia delle linee tenui e nell'utilizzo del colore. In 1816 Ingres produced his only etching, a portrait of the French ambassador to Rome, Monsignor Gabriel Cortois de Pressigny. "Ce que l'on sait," he would repeat, "il faut le savoir l'épée à la main." J.-. Jean Auguste Dominique Ingres. This painting was entirely different from his earlier portrait of Napoleon as First Consul; it concentrated almost entirely on the lavish imperial costume that Napoleon had chosen to wear, and the symbols of power he held. Find an in-depth biography, exhibitions, original artworks for sale, the latest news, and sold auction prices. Paris artists and intellectuals were passionately divided by the conflict, although modern art historians tend to regard Ingres and other Neoclassicists as embodying the Romantic spirit of their time. Schwartz, Sanford (13 July 2006). Drawing is seven eighths of what makes up painting. [48], 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. Ingres was an amateur violin player from his youth, and played for a time as second violinist for the orchestra of Toulouse. Questa pagina è stata modificata per l'ultima volta il 21 gen 2021 alle 11:29. Contestualmente, Ingres venne avviato allo studio della musica con l'aiuto del violinista Lejeune: rivelò doti musicali notevoli, tanto che diventò secondo violino dell'orchestra municipale di Tolosa. Artists and critics outdid each other in their attempts to identify, interpret, and exploit what they were just beginning to perceive as historical stylistic developments. So familiar to us are both the materials and the manner that we forget how extraordinary they must have seemed at the time ... Ingres' manner of drawing was as new as the century. His father was a successful jack-of-all-trades in the arts, a painter of miniatures, sculptor, decorative stonemason, and amateur musician; his mother was the nearly illiterate daughter of a master wigmaker. In his later years he painted new versions of many of his earlier compositions, a series of designs for stained glass windows, several important portraits of women, and The Turkish Bath, the last of his several Orientalist paintings of the female nude, which he finished at the age of 83. [101] He believed that "the secret of beauty has to be found through truth. This production made him win the ‘Prix de Rome.’Most of his Neoclassical portraits characterized anticipation of the 20th-century modernism. During this low point of his career, Ingres augmented his income by drawing pencil portraits of the many wealthy tourists, in particular the English, passing through postwar Rome. [107], Although capable of painting quickly, he often laboured for years over a painting. Jean Auguste Dominique Ingres, cel mai mic copil al soților Joseph și Lenna Ingres, s-a născut la 30 august, la Montauban, în nord-vestul Franței.Tatăl său, sculptor și factotum în domeniul artei, și-a inițiat fiicele în domeniul artei. Chaussard (Le Pausanias Français, 1806) praised "the fineness of Ingres's brushwork and the finish", but condemned Ingres's style as gothic and asked: How, with so much talent, a line so flawless, an attention to detail so thorough, has M. Ingres succeeded in painting a bad picture? View Jean-Auguste-Dominique Ingres’s 563 artworks on artnet. In 1859 he produced new versions of The Virgin of the Host, and in 1862 he completed Christ and the Doctors, a work commissioned many years before by Queen Marie Amalie for the chapel of Bizy. He devoted much of his attention to the training of the painting students, as he was later to do at the École des Beaux-Arts in Paris. [27] As required of every winner of the Prix, he sent works at regular intervals to Paris so his progress could be judged. Ingres considerava Chassériau il suo discepolo più degno, tanto da ritenere che sarebbe diventato un «Napoleone della pittura». "[100], Ingres was averse to theories, and his allegiance to classicism—with its emphasis on the ideal, the generalized, and the regular—was tempered by his love of the particular. Tinterow, Conisbee et al. His expressive distortions of form and space made him an important precursor of modern art, influencing [15] Ingres's stylistic eclecticism represented a new tendency in art. Dopo aver riportato il primo premio di disegno all'Accademia di Tolosa nel 1797, Ingres decise di trasferirsi a Parigi per studiare arte al seguito dell'illustre pittore neoclassico Jacques-Louis David, in quell'anno assorbito nell'esecuzione del gran quadro delle Sabine. The Romanticists in French painting were led by Theodore Gericault and especially Delacroix. Ingres's well-known passion for playing the violin gave rise to a common expression in the French language, "violon d'Ingres", meaning a second skill beyond the one by which a person is mainly known. Last representative of the great painters of French neoclassicism, Ingres arises however with an ambiguous stance towards the classical postulates that places him within the germ of the Romantic movement. Roques' veneration of Raphael was a decisive influence on the young artist. Summary of Jean-Auguste-Dominique Ingres. 152–154. The critic Théophile Gautier wrote of Ingres's work: "It is impossible to better paint the mystery, the silence and the suffocating atmosphere of the seraglio." [125] Nude studies exist even for some of his commissioned portraits, but these were drawn using hired models. [133], At the 1855 Universal Exposition, both Delacroix and Ingres were well represented. Insediatosi presso villa Medici, sede dell'Accademia di Francia, a Roma Ingres continuò i propri studi pittorici, guardando con molto interesse soprattutto Raffaello e i quattrocentisti, che assunse a modello per perseguire l'ideale di purezza formale e di eleganza. His expressive distortions of form and space made him an important precursor of modern art, influencing Picasso, Matisse and other modernists. This was the first work of Ingres to enter a museum. When Stendhal visited the Academy and disparaged Beethoven, Ingres turned to the doorman, indicated Stendahl, and told him, "If this gentleman ever calls again, I am not here. [44] He is estimated to have made some five hundred portrait drawings, including portraits of his famous friends. (1780-1867) French painter born in 1780 and died in 1867. Matisse, in particolare, descrisse Ingres come il primo artista «ad usare colori puri, delineandoli senza tuttavia alterarli». "[57] In January 1825 he was awarded the Cross of the Légion d'honneur by Charles X, and in June 1825 he was elected a member of Académie des Beaux-Arts. For an artist who aspired to a reputation as a history painter, this seemed menial work, and to the visitors who knocked on his door asking, "Is this where the man who draws the little portraits lives? Parker, Robert Allerton (March 1926). He demanded that his students at the Academy and the Ecole des Beaux-Arts perfect their drawing before anything else; he declared that a "thing well drawn is always a thing well painted".[117]. [71], The second painting he sent, in 1840, was The Illness of Antiochus (1840; also known as Aniochus and Stratonice) a history painting on a theme of love and sacrifice, a theme once painted by David in 1800, when Ingres was in his studio.