J. A. D. Ingres (1780-1867)
was born in Montauban on August 29, 1780, the son of an unsuccessful sculptor and painter. French painter. He was the last grand champion of the French classical tradition of history painting. He was traditionally presented as the opposing force to Delacroix in the early 19th-century confrontation of Neo-classicism and Romanticism, but subsequent assessment has shown the degree to which Ingres, like Neo-classicism, is a manifestation of the Romantic spirit permeating the age. The chronology of Ingres's work is complicated by his obsessive perfectionism, which resulted in multiple versions of a subject and revisions of the original. For this reason, all works cited in this article are identified by catalogue.
Canvas 46 x 32 1/4''(117 x 82 cm)Salon of 1806 ;bequeathed by Mne Veuve Riviere,daughter-in-law of the sitter 1870 M.I 1446 (G/AR)
Canvas 46 x 32 1/4''(117 x 82 cm)Salon of 1806 ;bequeathed by Mne Veuve Riviere,daughter-in-law of the sitter 1870 M.I 1446 (G/AR)
1811
Canvas 36 1/2 x 28''(93 x 68 cm)Donated by Carlos de Beistegui in 1942;entered the Louvre in 1953 R.F 1942-25 (G/AR)
1811
Canvas 36 1/2 x 28''(93 x 68 cm)Donated by Carlos de Beistegui in 1942;entered the Louvre in 1953 R.F 1942-25 (G/AR)
1805
Canvas 45 1/2 x 35''(116 x 89 cm)Salon of 1806;bequeathed by Mme Veuve Riviere,daughter-in-law of the sitter,1870 M.I 1445 (G/AR)
1805
Canvas 45 1/2 x 35''(116 x 89 cm)Salon of 1806;bequeathed by Mme Veuve Riviere,daughter-in-law of the sitter,1870 M.I 1445 (G/AR)
J. A. D. Ingres (1780-1867)
was born in Montauban on August 29, 1780, the son of an unsuccessful sculptor and painter. French painter. He was the last grand champion of the French classical tradition of history painting. He was traditionally presented as the opposing force to Delacroix in the early 19th-century confrontation of Neo-classicism and Romanticism, but subsequent assessment has shown the degree to which Ingres, like Neo-classicism, is a manifestation of the Romantic spirit permeating the age. The chronology of Ingres's work is complicated by his obsessive perfectionism, which resulted in multiple versions of a subject and revisions of the original. For this reason, all works cited in this article are identified by catalogue.