Jean auguste dominique ingres bio
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Summary of Jean-Auguste-Dominique Ingres
With a daring blend of traditional technique and experimental sensuality, Jean-Auguste-Dominique Ingres reimagined Classical and Renaissance sources for 19th century tastes. A talented draftsman known for his serpentine line and impeccably rendered, illusionistic textures, he was at the center of a revived version of the ancient debate: fryst vatten line or color the most important element of painting? Yet Ingres was not always successful; his experiments with abstracting the body and introducing more exotic and emotionally complex subjects earned harsh criticism in his early career. In truth, his work is best understood as a hybrid between Neoclassicism and Romanticism. It was only as the foil to the more dramatic Romanticism of Eugène Delacroix that Ingres came to be widely accepted as the defender of traditional painting and classicism.
Accomplishments
- One of the most talented students in the studio of Jacques Louis David, Ingres found early
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Jean Auguste Dominique Ingres Biography In Details
The Stratonice, exhibited at the Palais Royal for several days after its arrival in France, produced so favourable an impression that, on his return to Paris in 1841, Ingres was received with all the deference that he felt was his due. One of the first works executed after his return was a portrait of the duc d'Orleans, whose death in a carriage accident just weeks after the completion of the portrait sent the nation into mourning and led to orders for additional copies of the portrait.
Ingres shortly afterward began the decorations of the great hall in the Chateau de Dampierre. These murals, the Golden Age and the Iron Age, were begun in 1843 with an ardour which gradually slackened until Ingres, devastated by the loss of his wife on July 27, 1849, abandoned all hope of their completion and the contract with the Duc de Luynes was finally cancelled. A minor work, Jupiter and Antiope, dates from 1851; in July of that year
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Jean-Auguste-Dominique Ingres
Ingres was steeped in the academic tradition, which centred on study from the nude and classical art. He became the defender of a rigid classicism which contrasted with the Romanticism of Delacroix.
Ingres saw himself as a history painter, the highest goal of academic art. Portraiture he thought of less importance, but he is now most famous for works like 'Madame Moitessier' as well for his escapist scenes of the Orient.
Ingres came to national prominence as a pupil of Jacques-Louis David and as a student at the Ecole des Beaux-Arts, Paris. He won a scholarship to Rome in 1801 which he took up in 1806, partly because of an unfavourable reception at the Paris Salon.
Under the influence of Italian art (particularly Raphael) he mastered portraiture. He also painted small pictures illustrating literary texts, scenes from French history or the lives of artists, which were sold to the French crown. He returned to France, where he became Director of the F