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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.
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.
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, The Death of Leonardo da Vinci, c. 1817. Ingres first conceived of the work in a wash drawing he submitted to Louis-Joseph Coutan in the 1820s. [5] Ingres made several alterations to the original wash drawing, including extending the format horizontally by adding a piece of paper on the left. [5]
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.
Some art historians have compared it in tone to his Grande Odalisque, which he was working on simultaneously. [ 3 ] Among the sources that Ingres took inspiration from were Jacques-Louis David 's Portrait of madame de Verninac (1799), [ 6 ] and Leonardo da Vinci's La belle ferronnière .
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Angelica, 1859, São Paulo Museum of Art. Ingres received the commission for the work in 1817 and completed it in 1819. [3] When it was exhibited at the Paris Salon of 1819 alongside his Grande Odalisque, the work was criticised for the treatment of Angelica's figure, described by the art historian Théophile Silvestre as "Angelica with goitres" and by the painter Henry de Waroquier as "triple ...
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