Jean Auguste Dominique Ingres (1780 – 1867, French)
Jean-Auguste-Dominique Ingres Nude Artwork (August 29, 1780 – January 14, 1867). French neoclassical painter, influenced by past artistic traditions. His dream was to become the guardian of academic orthodoxy against the rising romantic style.
He considered himself a history painter in the tradition of Nicolas Poussin and Jacques-Louis David, portraits of him are both painted and drawn. He was an important precursor of modern art, influencing Picasso, Matisse, and other modernists, for his expressive distortions of form and space.
Born into a modest family in Montauban, he traveled to Paris to study at David’s studio. In 1802 he made his Salon debut and won the Prix de Rome for his painting The Ambassadors of Agamemnon in Achilles’ Tent. When he left in 1806 for his residence in Rome, his style already revealed his meticulous study of the Italian and Flemish Renaissance masters. This style was fully developed and would change little for the rest of his life.
Working in Rome
While working in Rome and later in Florence from 1806 to 1824, he regularly sent paintings to the Paris Salon, where they were criticized by critics who found his style strange and archaic about him. He received few commissions during this period for the history paintings he aspired to paint, but he was able to support himself and his wife as a portraitist and draftsman.
He finally he was recognized at the Salon of 1824, when his Raphaelian painting, The Vow of Louis XIII, was acclaimed and Ingres was recognized as the leader of the neoclassical school in France. Although the proceeds from commissions for historical paintings enabled him to paint fewer portraits, his Portrait of Monsieur Bertin marked his next popular success in 1833.
The Source – La Source
canvas, oil paint 1.63 m (5.3 ft) × 0.8 m (2.6 ft)Musée d’Orsay, Paris, France
In 1834, his outrage at the harsh criticism of his ambitious composition The Martyrdom of San Sinforiano led him to return to Italy, where he assumed the direction of the French Academy in Rome in 1835. He returned permanently to Paris in 1841. In his last years he painted remakes of many of his earlier compositions, a series of stained glass designs, several important portraits of women, and The Turkish Bath, the last of his several Orientalist paintings of the female nude, which he completed at age 83.
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