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The development of Ingres paper for drawing is ascribed to the French Neoclassical artist Dominique Ingres (1780-1867), although modern Ingres papers can differ from those actually used by Ingres. Ingres paper's pattern is a laid mesh. The laid effect creates a toothy grain of close lines on one side and a mottled surface on the reverse. The ...
Jean-Auguste-Dominique Ingres (/ ˈ æ ŋ ɡ r ə / ANG-grə; French: [ʒɑ̃ oɡyst dɔminik ɛ̃ɡʁ]; 29 August 1780 – 14 January 1867) was a French Neoclassical painter.Ingres was profoundly influenced by past artistic traditions and aspired to become the guardian of academic orthodoxy against the ascendant Romantic style.
Ingres, 1832 study on black charcoal and graphite on paper. Musée Ingres, Montauban. Ingres was self-critical and consumed by self-doubt. He often took months to complete a portrait, [12] leaving large periods of inactivity between sittings. With Bertin, he agonised in finding a pose to best convey both the man's restless energy and his age.
The work was intended as a demonstration of Ingres' mastery of the human figure in classical history painting – Odysseus is shown in a red cloak derived from a sculpture by Pseudo-Phidias. The painting is in the neo-classical style and belongs to the school of Jacques-Louis David, in whose studio Ingres had
Jupiter and Thetis is an 1811 painting by the French neoclassical painter Jean-Auguste-Dominique Ingres, in the Musée Granet, Aix-en-Provence, France.Painted when the artist was not yet 31, the work severely and pointedly contrasts the grandeur and might of a cloud-borne Olympian male deity against that of a diminutive and half nude nymph.
Self-Portrait at Seventy-Eight, 1858, 62 x 51 cm.. This is an incomplete list of paintings by the French neoclassical painter Jean-Auguste-Dominique Ingres (1780–1867). ). Although he considered himself a classicist in the tradition of Nicolas Poussin and Jacques-Louis David and had a longstanding rivalry with Eugène Delacroix, some of his later works included elements of romanticism and orien
However, when Ingres met Madame Moitessier, he was struck by her beauty and agreed to produce a portrait. [3] Art critic Théophile Gautier , who watched during some of the painting sessions, agreed with Ingres, describing her beauty as the most regal, magnificent, stately and Junoesque that he had ever seen drawn.
Grande Odalisque, also known as Une Odalisque or La Grande Odalisque, is an oil painting of 1814 by Jean-Auguste-Dominique Ingres depicting an odalisque, or concubine.Ingres' contemporaries considered the work to signify Ingres' break from Neoclassicism, indicating a shift toward exotic Romanticism.