Jean-Auguste-Dominique Ingres (French, 1780-1867)
Jean-Auguste-Dominique Ingres was born in Montauban and first taught drawing by his father. As a child Ingres displayed talent in the areas of both art music but in 1791enrolled at the Academy of Toulouse under painter Joseph Roques. In 1797 he studied under David and in 1799 was accepted at the Ecole des Beaux-Arts where Ingres won the Rome Prize of 1801 with The Ambassadors of Agamemnon in the Tent of Achilles.
Ingres showed three portraits of Philibert Riviere, Mme Riviere, and Mlle Riviere at the Paris Salon in 1806 but the paintings were poorly met. The same year he left for French Academy in Rome on a scholarship where he studied the Renaissance masters with particular attentions to Raphael, Titian and Holbein. During this period he produced portraits of French society.
Jean-Auguste-Dominique Ingres was born in Montauban and first taught drawing by his father. As a child Ingres displayed talent in the areas of both art music but in 1791enrolled at the Academy of Toulouse under painter Joseph Roques. In 1797 he studied under David and in 1799 was accepted at the Ecole des Beaux-Arts where Ingres won the Rome Prize of 1801 with The Ambassadors of Agamemnon in the Tent of Achilles.
Ingres showed three portraits of Philibert Riviere, Mme Riviere, and Mlle Riviere at the Paris Salon in 1806 but the paintings were poorly met. The same year he left for French Academy in Rome on a scholarship where he studied the Renaissance masters with particular attentions to Raphael, Titian and Holbein. During this period he produced portraits of French society.
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Biography
In 1824 Ingres returned to Paris where he opened a studio and in 1825 was elected a member of the Academy. Also that year he was awarded the Legion of Honor. Ingres, never popular at the Salons, was met with heavy disapproval in 1834 for Martyrdom of Saint Symphorian. Angered, the artist accepted a post as Director of the French Academy, claiming he would never show his work in Paris again. Ingres continued as director until 1841 when he returned to Paris where his work was finally met with success. In 1845 he was awarded the Order of Merit and for a brief period held the position of president of the Ecole des Beaux-Arts. Jean-Auguste-Dominique Ingres died in Paris in 1867.Museums: Jean-Auguste-Dominique Ingres may be found at the National Gallery of Art, Washington D.C., the Detroit Institute of Arts, Michigan, the Harvard University Art Museums, Massachusetts and the Fine Arts Museums of San Francisco.
Longer Biography:
Ingres was born in Montauban, Tarn-et-Garonne, France, the eldest of seven children, five of which made it out of infancy. His parents were Jean-Marie-Joseph Ingres and his wife Anne Moulet. His father had been a flourishing jack-of-all-trades within the art world, a artist of miniatures, sculptor, ornamental stone mason as well as musician; his mother was the virtually illiterate daughter of a master wig maker. Ingres father encouraged his young son to develop his artistic talents and gave the child an early education in sketching as well as music.
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The Grande Odalisque - Jean-Auguste-Dominique Ingres
Beginning in 1786 he went to a nearby school, Ecole des Freres de l'Education Chretienne, however his training was interrupted by the upheaval of the French Revolution. In 1791 the school was shut down, concluding Ingres formal education. The inadequacy of his education was constantly issue of insecurity for Ingres throughout his life.
In 1791, Joseph Ingres brought his son to Toulouse where the child Jean Auguste Dominique entered the Academie Royale de Peinture, Sculpture et Architecture. With the Academy, he was educated with the sculptor Jean-Pierre Vigan, the landscape artist Jean Briant, and most significantly, artist Joseph Roques, who helped the young painter to develop his devotion to the great master artist Raphael. Ingres natural musical gift was further developed as well at this time with lessons from violinist Lejeune. Between the age of 13 to 16 he was second violinist with the Orchestre du Capitole de Toulouse. Ingres would play the violin as a hobby for the remainder of his lifetime.
In 1797, after having been presented first prize in sketching by the Academy, in Ingres went to Paris where he studied under Jacques-Louis David. Jacques-Louis David was France's, as well as Europe's, greatest artist throughout the revolutionary era. Ingres remained with Jacques-Louis David studio for 4 years. Ingres followed by his teacher's neoclassical manner although the younger artist displayed, as reported by David, "a tendency toward exaggeration in his studies." During 1799 Ingres was accepted in the Painting Department of the Ecole des Beaux-Arts and after tying for second place, won the coveted Grand Prix de Rome in 1801 for his work titled Ambassadors of Agamemnon in the tent of Achilles. At this time the government had been financially stressed and Ingres would delay the prize trip to Rome until 1806.
In Paris Ingres found himself working beside his fellow pupils in David's studio which had been supplied by the state. Here he further developed a genre which accented pureness of shape. Ingres was inspired by the art of Raphael, Etruscan vase work, as well as in the line etchings of English artist John Flaxman. During 1802 he secured his entry at the Salon exhibit with the painting titled Portrait of a Woman. With the next year came a significant commission, he was chosen among five painters designated to create full-length paintings of Napoleon Bonaparte as First Consul. They were to be shown in a tour of towns recently acquired by France in the the 1801 Treaty of Luneville including Liege, Antwerp, Dunkerque, Brussels, as well as Ghent.
During the summer of 1806 Ingres was betrothed to Marie-Anne-Julie Forestier, an artist and musician, just prior to his Grand Prix de Rome trip in September. Even though he would have preferred remain in Paris long enough to attend the opening of the year's Salon, at which he had been exhibiting numerous pieces, he reluctantly departed to Italy scarcely days prior to the Salon opening. At the Salon, his artwork, including Self-Portrait, portrayals of the Riviere family, as well as Napoleon I on his Imperial Throne, did not go over well with the public, owing not simply to Ingres' stylistic mannerisms but as well as by his borrowing of Carolingian imagery in interpreting Napoleon. David presented a harsh assessment, and the critics has been uniformly unfriendly, criticizing the paintings odd discords of color, the deficiency of sculptural backup, the cool preciseness of form, as well as a self-consciously primitive tone. Chaussard declared Ingres' manner to be Gothic.
The Louvre museum, recently filled with plunder appropriated by Napoleon in his efforts in Belgium, Holland, and Italy, supplied French painters of the early nineteenth century with a new chance to study master works from the past history of European art. Since the beginning Ingres had liberally adopted out of earlier works, finding the old style harmonious with his subject, which prompted critics to accuse him of pillaging the past.
When he first arrived in Rome, Ingres read the unrelentingly negative critics reviews of his paintings in releases sent to him from Paris by acquaintances with growing outrage. In letters to his future father-in-law he expressed his appall of the critics. He swore never again to show at the Salon, and so his refusal to come back to Paris resulted in the end of his engagement to Marie-Anne-Julie Forestier.
Ingres established himself in a studio at the Villa Medici and carried on his lessons and, as the Prix winners were required to do, he shipped art at scheduled times to Paris to have his progress in his art training evaluated. During 1808 Ingres sent the painting titled Oedipus and the Sphinx as well as the work Valpincon Bather, hoping two canvases would attest to his growing command of the male and female nude, however these has been poorly received. In following decades Ingres created versions of both pieces; a different nude started in 1807, the Venus Anadyomene, a piece which stayed in an incomplete state for years, to be finished forty years hence and at last presented in 1855.
During this time Ingres worked on several portraits, and in 1810 Ingres' pension with the Villa Medici came to an end, however he selected to remain in Rome and look for backing from the French occupation regime.
During 1811 Ingres completed his last student work, the vast Jupiter and Thetis. this painting was yet once more harshly labeled in Paris. Ingres was riled; the public was apathetic, as well as the stern classicists amid his associate artists regarded him as a rebel. Eugene Delacroix exclusively, as well as fellow students of Pierre-Narcisse Guerin, who was the leaders of the romantic movement, appear to have acknowledged his virtues. Ironically the romantic movement was one which Ingres declared a profound dislike for throughout his life.
Even though he was facing unsure prospects, during 1813 Ingres wed Madeleine Chapelle, who he had met through her friends in Rome. Their courting was done by letters and he proposed to her without even meeting her. She accepted. Their marriage had been a contented one, and Madame Ingres developed a trust in her husband that allowed her to battle with bravery and forbearance the troubles of their common life. He proceeded to abide the indignity of belittling critiques, and once again found a commonly unfriendly critical reception with the Paris Salon in 1814.
A couple of significant commissions came his way in the form of the French governor of Rome requested him to create Virgil reading the Aeneid for his home, as well as to create two large pieces for Monte Cavallo, a onetime Papal mansion going through restoration to be Napoleon's Roman palace. Such paintings typified, both in theme as well as scale, the sort of art work with which Ingres had been resolute to build his repute, however, art collectors favored blithe mythologies, placeable scenes of day-to-day life, landscape painting, still life, or portrayals of men and women from their personal class.
Ingres went to Naples during the springtime of 1814 to paint Queen Caroline Murat, and so the Murat family arranged further portraits in addition to three moderately sized works. He never got paid for these works due to the fall of the Murat regime during 1815; along with the fall of Napoleon's dynasty, Ingres discovered himself in essence marooned in Rome without clientele.
In that low point during his career, Ingres had been pressured to count for his support on the creation, in pencil, of lowly portrait sketches of the numerous tourists, particularly the English, transiting postwar Rome. As painter who aimed for a reputation for a historical artist, this appeared humble employment. Yet, the portraiture sketches he created in such profuseness throughout this era are of striking caliber, and place nowadays amid his most respected art.
In 1791, Joseph Ingres brought his son to Toulouse where the child Jean Auguste Dominique entered the Academie Royale de Peinture, Sculpture et Architecture. With the Academy, he was educated with the sculptor Jean-Pierre Vigan, the landscape artist Jean Briant, and most significantly, artist Joseph Roques, who helped the young painter to develop his devotion to the great master artist Raphael. Ingres natural musical gift was further developed as well at this time with lessons from violinist Lejeune. Between the age of 13 to 16 he was second violinist with the Orchestre du Capitole de Toulouse. Ingres would play the violin as a hobby for the remainder of his lifetime.
In 1797, after having been presented first prize in sketching by the Academy, in Ingres went to Paris where he studied under Jacques-Louis David. Jacques-Louis David was France's, as well as Europe's, greatest artist throughout the revolutionary era. Ingres remained with Jacques-Louis David studio for 4 years. Ingres followed by his teacher's neoclassical manner although the younger artist displayed, as reported by David, "a tendency toward exaggeration in his studies." During 1799 Ingres was accepted in the Painting Department of the Ecole des Beaux-Arts and after tying for second place, won the coveted Grand Prix de Rome in 1801 for his work titled Ambassadors of Agamemnon in the tent of Achilles. At this time the government had been financially stressed and Ingres would delay the prize trip to Rome until 1806.
In Paris Ingres found himself working beside his fellow pupils in David's studio which had been supplied by the state. Here he further developed a genre which accented pureness of shape. Ingres was inspired by the art of Raphael, Etruscan vase work, as well as in the line etchings of English artist John Flaxman. During 1802 he secured his entry at the Salon exhibit with the painting titled Portrait of a Woman. With the next year came a significant commission, he was chosen among five painters designated to create full-length paintings of Napoleon Bonaparte as First Consul. They were to be shown in a tour of towns recently acquired by France in the the 1801 Treaty of Luneville including Liege, Antwerp, Dunkerque, Brussels, as well as Ghent.
During the summer of 1806 Ingres was betrothed to Marie-Anne-Julie Forestier, an artist and musician, just prior to his Grand Prix de Rome trip in September. Even though he would have preferred remain in Paris long enough to attend the opening of the year's Salon, at which he had been exhibiting numerous pieces, he reluctantly departed to Italy scarcely days prior to the Salon opening. At the Salon, his artwork, including Self-Portrait, portrayals of the Riviere family, as well as Napoleon I on his Imperial Throne, did not go over well with the public, owing not simply to Ingres' stylistic mannerisms but as well as by his borrowing of Carolingian imagery in interpreting Napoleon. David presented a harsh assessment, and the critics has been uniformly unfriendly, criticizing the paintings odd discords of color, the deficiency of sculptural backup, the cool preciseness of form, as well as a self-consciously primitive tone. Chaussard declared Ingres' manner to be Gothic.
The Louvre museum, recently filled with plunder appropriated by Napoleon in his efforts in Belgium, Holland, and Italy, supplied French painters of the early nineteenth century with a new chance to study master works from the past history of European art. Since the beginning Ingres had liberally adopted out of earlier works, finding the old style harmonious with his subject, which prompted critics to accuse him of pillaging the past.
When he first arrived in Rome, Ingres read the unrelentingly negative critics reviews of his paintings in releases sent to him from Paris by acquaintances with growing outrage. In letters to his future father-in-law he expressed his appall of the critics. He swore never again to show at the Salon, and so his refusal to come back to Paris resulted in the end of his engagement to Marie-Anne-Julie Forestier.
Ingres established himself in a studio at the Villa Medici and carried on his lessons and, as the Prix winners were required to do, he shipped art at scheduled times to Paris to have his progress in his art training evaluated. During 1808 Ingres sent the painting titled Oedipus and the Sphinx as well as the work Valpincon Bather, hoping two canvases would attest to his growing command of the male and female nude, however these has been poorly received. In following decades Ingres created versions of both pieces; a different nude started in 1807, the Venus Anadyomene, a piece which stayed in an incomplete state for years, to be finished forty years hence and at last presented in 1855.
During this time Ingres worked on several portraits, and in 1810 Ingres' pension with the Villa Medici came to an end, however he selected to remain in Rome and look for backing from the French occupation regime.
During 1811 Ingres completed his last student work, the vast Jupiter and Thetis. this painting was yet once more harshly labeled in Paris. Ingres was riled; the public was apathetic, as well as the stern classicists amid his associate artists regarded him as a rebel. Eugene Delacroix exclusively, as well as fellow students of Pierre-Narcisse Guerin, who was the leaders of the romantic movement, appear to have acknowledged his virtues. Ironically the romantic movement was one which Ingres declared a profound dislike for throughout his life.
Even though he was facing unsure prospects, during 1813 Ingres wed Madeleine Chapelle, who he had met through her friends in Rome. Their courting was done by letters and he proposed to her without even meeting her. She accepted. Their marriage had been a contented one, and Madame Ingres developed a trust in her husband that allowed her to battle with bravery and forbearance the troubles of their common life. He proceeded to abide the indignity of belittling critiques, and once again found a commonly unfriendly critical reception with the Paris Salon in 1814.
A couple of significant commissions came his way in the form of the French governor of Rome requested him to create Virgil reading the Aeneid for his home, as well as to create two large pieces for Monte Cavallo, a onetime Papal mansion going through restoration to be Napoleon's Roman palace. Such paintings typified, both in theme as well as scale, the sort of art work with which Ingres had been resolute to build his repute, however, art collectors favored blithe mythologies, placeable scenes of day-to-day life, landscape painting, still life, or portrayals of men and women from their personal class.
Ingres went to Naples during the springtime of 1814 to paint Queen Caroline Murat, and so the Murat family arranged further portraits in addition to three moderately sized works. He never got paid for these works due to the fall of the Murat regime during 1815; along with the fall of Napoleon's dynasty, Ingres discovered himself in essence marooned in Rome without clientele.
In that low point during his career, Ingres had been pressured to count for his support on the creation, in pencil, of lowly portrait sketches of the numerous tourists, particularly the English, transiting postwar Rome. As painter who aimed for a reputation for a historical artist, this appeared humble employment. Yet, the portraiture sketches he created in such profuseness throughout this era are of striking caliber, and place nowadays amid his most respected art.
Baronne James de Rothschild - Jean-Auguste-Dominique Ingres
Jean-Auguste-Dominique Ingres Selected Paintings
A man deeply reverent of history, he donned the part of a protector of academic orthodoxy against the dominating Romantic manner exemplified by his nemesis and fellow artist Eugene Delacroix. His models, he once said, were "the great masters which flourished in that century of glorious memory when Raphael set the eternal and incontestable bounds of the sublime in art ... I am thus a conservator of good doctrine, and not an innovator. "All the same, current belief has inclined to view Ingres and the fellow Neo-classicists of his time as personifying the Romantic flavor of his era, although his communicative deformations of form and space brand him an significant forerunner of modern art.- Amedee-David- Marquis de Pastoret, 1823
- Bather of Valpincon 1808
- Betty de Rothschild, Baronne de Rothschild 1848
- Bonaparte as First Consul, 1804
- Caroline Maille, Madame Gonse 1852
- Cecile Bochet, Madame Panckoucke 1811
- Delphine Ramel, Madame Ingres 1859
- Detail of the Apotheosis of Homer 1827
- Francoise Poncelle, Madame Leblanc 1823
- Francois-Marius Granet 1809
- Hortense Reiset, Madame Reiset 1846
- Joan of Arc at the Coronation of Charles VII, 1854
- Jupiter and Thetis 1811
- Le Bain Turc 1862
- Louise de Broglie, Countesse d'Haussonville 1845
- Louise de Broglie, Countesse d'Haussonville (Detail) 1845
- M. Charles Joseph-Laurent Cordier 1811
- Madame Antonia Devaucay de Nittis 1807
- Madame de Senonnes 1814
- Madame Moitessier 1851
- Madame Moitessier 1856
- Mademoiselle Riviere 1806
- Male Torso 1800
- Marie-Francoise Beauregard, Madame Riviere 1806
- Monsieur Bertin 1832
- Napoleon on his Imperial Throne 1806
- Odalisque with a Slave 1840
- Paolo and Francesca 1819
- Portrait of Count Guriev 1821
- Portrait of M. Philibert Riviere 1805
- Princess de Broglie 1851-53
- Raphael and the Fornarina 1814
- Roger and Angelica 1839
- Romulus- Conquerer of Acron 1812
- The Ambassadors of Agamemnon in the Tent of Achilles 1801
- The Apotheosis of Homer 1827
- The Bather 1808
- The Dream of Ossian 1813
- The Entry of the Future Charles V into Paris in 1358
- The Grand Odalisque 1814
- The Source 1820
- The Sword of Henry IV 1832
- The Turkish Bath 1862
- The Virgin with the Host, 1854
- The Vow of Louis XIII 1824
- Venus at Paphos 1853-53
Jupiter and Thetis - Jean-Auguste-Dominique Ingres
Ferdinand-Philippe-Louis-Charles-Henri Duc d Orleans - Jean-Auguste-Dominique Ingres
Napoleon I on His Imperial Throne - Jean-Auguste-Dominique Ingres
Oedipus and the Sphinx - Jean-Auguste-Dominique Ingres
Virgin of the Adoption - Jean-Auguste-Dominique Ingres
by dandbal
Jean Auguste Dominique Ingres - French Neoclassical painter. While he regarded himself as an artist of history in the custom of Nicolas Poussin and Ja... (more)
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