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Self Portrait,
1858
Jean Auguste Dominique Ingres was the son of a
minor painter and sculptor, Jean-Marie-Joseph Ingres (1755-1814).
After an early academic training in the Toulouse Academy he
went to Paris in 1796 and was a fellow student of Gros in David's
studio. He won the Prix de Rome in 1801, but owing to the state
of France's economy he was not awarded the usual stay in Rome
until 1807. In the interval he produced his first portraits.
These fall into two categories: portraits of himself and his
friends, conceived in a Romantic spirit (Self-portrait, Musée
Condé, Chantilly, 1804), and portraits of well-to-do
clients characterized by purity of line and enamel-like colouring
{Mlle Rivière, Louvre, Paris, 1805). These early portraits
are notable for their calligraphic line and expressive contour,
which had a sensuous beauty of its own beyond its function to
contain and delineate form. It was a feature that formed the
essential basis of Ingres's painting throughout his life.
During his first years in Rome he continued to execute portraits
and began to paint bathers, a theme which was to become one
of his favourites {The Valpinçon Bather, Louvre, Paris,
1808). He remained in Rome when his four-year scholarship ended,
earning his living principally by pencil portraits of members
of the French colony. But he also received more substantial
commissions, including two decorative paintings for Napoleon's
palace in Rome {Triumph of Romulus over Acron, École
des Beaux-Arts, Paris, 1812; and Ossian's Dream, Musée
Ingres, 1813). In 1820 he moved from Rome to Florence, where
he remained for 4 years, working mainly on his Raphaelesque
Vow of Louis XIII, commissioned for the cathedral of Montauban.
Ingres's work had often been severely criticized in Paris because
of its 'Gothic' distortions, and when he accompanied this painting
to the Salon of 1824 he was surprised to find it acclaimed and himself
set up as the leader of the academic opposition to the new Romanticism.
(Delacroix's Massacre of Chios was shown at the same Salon.) Ingres
stayed in Paris for the next ten years and received the official
success and honours he had always craved. During this period he
devoted much of his time to executing two large works: The Apotheosis
of Homer, for a ceiling in the Louvre (installed 1827), and
The Martyrdom of St Symphorian (Salon, 1834) for the cathedral
of Autun. When the latter painting was badly received, however,
he accepted the Directorship of the French School in Rome, a post
he retained for 7 years. He was a model administrator and teacher,
greatly improving the school's facilities, but he produced few major
works in this period.
In 1841 he returned to France, once again acclaimed as the champion
of traditional values. He was heartbroken when his wife died in
1849, but he made a happy second marriage in 1852, and he continued
working with great energy into his 80s. One of his acknowledged
masterpieces, the extraordinarily sensuous Turkish Bath (Louvre,
1863), dates from the last years of his life. At his death he left
a huge bequest of his work (several paintings and more than 4,000
drawings) to his home town of Montauban and they are now in the
museum bearing his name there.
Ingres is a puzzling artist and his career is full of contradictions.
Yet more than most artists he was obsessed by a restricted number
of themes and returned to the same subject again and again over
a long period of years. He was a bourgeois with the limitations
of a bourgeois mentality. but as Baudelaire remarked, his finest
works 'are the product of a deeply sensuous nature'. The central
contradiction of his career is that although he was held up as the
guardian of classical rules and precepts, it is his personal obsessions
and mannerisms that make him such a great artist. His technique
as a painter was academically unimpeachable—he said paint should
be as smooth 'as the skin of an onion' —but he was often attacked
for the expressive distortions of his draughtsmanship; critics said,
for example, that the abnormally long back of La Grande Odalisque
(Louvre, 1814) had three extra vertebrae. Unfortunately the influence
of Ingres was mainly seen in those shortcomings and weaknesses which
have come to be regarded as the hallmark of inferior academic work.
He had scores of pupils, but Chasseriau was the only one to
attain distinction. As a great calligraphic genius his true
successors are Degas and Picasso.
Ingres
by Manuel Jover Paperback: 255 pages Publisher: Terrail (January
30, 2006)
Portraits by Ingres: Image of an Epoch by Jean-Auguste-Dominique
Ingres, Gary Tinterow (Editor), philip Conisbee (Editor) –
Hardcover, 608 pages (1999) Yale Univ Press
Like his contemporaries, Jean-Auguste-Dominique Ingres considered
history paintings to be the most exalted form of art, with portraiture
a lesser genre. Even during his lifetime, however, tastes were
changing, and while icons like his Turkish Bath and Grande
Odalisque are still highly regarded, Ingres is most admired
today for his innovative and vivid portraits, which transcend
time in their physical and psychological truth. Portraits by
Ingres—the catalog of the first comprehensive exhibition
in America of Ingres's portraits, organized by the Metropolitan
Museum in New York and the National Galleries in Washington,
D.C., and London—is beautifully produced and impressively
researched.
Ingres,
Then and Now (Re Visions: Critical Studies in the History
and Theory of Art) by Adrian Rifkin – Paperback: 176 pages
Publisher: Routledge; 1st edition (February, 2000)
Ingres Then, and Now is an innovative study of one of
the best-known French artists of the nineteenth century, Jean
Auguste Dominique Ingres. Adam Rifkin reevaluates Ingres' work
in the context of a variety of literary, musical and visual
cultures which are normally seen as alien to him.
Rifkin offers insightful interpretations of
Ingres' early work, and follows the artist's
image in the popular cultures of the twentieth
century. Approaching Ingres' paintings as symptomatic
of the commodity cultures of nineteenth-century
Paris, he draws the artist away from his familiar
association with the Academy and the Salon,
and instead situates Ingres in the world of
the Parisian Arcades. Finally, the book examines
Ingres' importance for the great French art
critic Jean Cassou, and makes a bold, contemporary
gay appropriation of his work.
Ingres Then, and Now transforms the popular
image we have of Ingres. Rifkin argues that
the figure of the artist is neither fixed in
time or place--there is neither an essential
man named Ingres, nor a singular body of his
work--but rather is an effect of many complex
and overlapping historical forces. Lavishly
illustrated with over 50 images, this compelling
study will transform our understanding of Ingres
and his cultural impact.
This provocative book—the first full-length
feminist and sociohistorical study of Ingres's
art—explores the meanings behind the fluid,
distorted, and sensualized bodies that populate
these works. Carol Ockman traces the shift in
late eighteenth-century French art from the
neoclassical representation of the heroic male
to the sensualized, homoerotic male nude to
the nineteenth-century emphasis on the female
nude.
Portrait of an Artist: Ingres – Slaves
to Fashion (1982) Actors: Gregory Peck,
Ned Beatty, William Howze, Lewis Sharp, Brian
W. Dippie, more
Format:
Color, NTSC
VHS Release Date: June 6, 2000
Run Time: 52 minutes
Ingres by Georges Vigne, John Goodman (Translator)
– Hardcover, 352 pages (October 1995) Abbeville Press,
Inc.
The first complete study of the life and work of the artist
whose rich, illusionistic surfaces dominated French painting
for much of the 19th century.
For more than half of the nineteenth century, French artist
Jean-Auguste-Dominique Ingres depicted in meticulous detail
the rapidly changing appearance of the fashionable woman. This
book, with over 150 illustrations, explores for the first time
the ways in which clothing, accessories, and fabric defined
and displayed women in Ingres`s portraits, including the grandes
dames of elite society and the newly opulent bourgeoisie.
Ingres
by Patrick Bade – Hardcover, 128 pages (April 1999) Parkstone
Press
Artist, Filmmaker, Poet, Surrealist, Man Ray was an unusually
versatile artist, a trait not limited to his studio. As a lover,
he was associated with some of the most famous and talked about
women of his day. Some artists prefer to conceal their sexual
partners, but Man Ray was the complete opposite. His paintings
and, especially, his photographs are the journal of his sexual
and emotional development traced her in this min-biography.
Portraits
By Ingres
Format:
Color, NTSC
VHS Release Date: October 26, 1999
Run Time: 25 minutes
This 25-minute-long documentary, produced in 1999 by the National
Gallery in Washington, D.C., focuses on one type of painting
by the superb 19th-century French painter Jean Auguste Dominique
Ingres. This video spans his 60-year career, during which Ingres
reluctantly painted about 60 portraits, even though he felt
they kept him from painting what he considered his best work.
He also completed huge historical paintings, allegorical works,
and nudes, which are also mentioned. After many years of hard
work and many moves between France and Italy, Ingres became
known as the leader of the classical movement. His portraits
ranged from intimate sketches of friends and musicians such
as Paganini to ladies of society, as well as political and social
leaders. At a young age, after working in the studio of Jacques
Louis David, he painted Napoleon twice, once as consul and then
as emperor. This program includes a broad array of his work,
with two self-portraits from early and late in his career. His
dexterity with fabrics and gestures was complemented by his
skill at capturing character. He also had a sense of humor;
in one portrait of a society beauty, he signed his name on a
calling card stuck in the frame of the mirror behind her. This
program gives an eloquent overview of the artist's work and
the period in which he lived, and will deservedly appeal to
a broad audience. —Anne Barclay Morgan
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Ingres
Portraits by Ingres: Image of an Epoch
Ingres,
Then and Now
Ingres's
Eroticized Bodies: Retracing the Serpentine
Line
Portrait of an Artist: Ingres – Slaves
to Fashion
Color, NTSC
Ingres
Ingres
in Fashion: Representations of Dress and Appearance in Ingres's
Images of Women
Ingres
Jean-Auguste-Dominique
Ingres (Masters of Art) 
