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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 ...
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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.
Tools. Tools. move to sidebar hide. Actions Read; Edit; View history; General ... Jean-Auguste-Dominique Ingres (1780−1867) — a renowned French neoclassical painter
Madame Jean-Auguste-Dominique Ingres (1782 – 27 July 1849), also known by her maiden name Madeleine Chapelle, was the first wife of Jean Auguste-Dominique Ingres, a French Neoclassical painter. Chapelle was the subject of a portrait painting and nine portrait drawings by Ingres and often served him as a figure model.
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
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.
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.