GCB Kunstlexikon
JEAN-AUGUST-DOMINIQUE INGRES
VIDEO / FILM
Jean Auguste Dominique Ingres | A collection of 157 paintings | LearnFromMaters | Description: „Jean Auguste Dominique Ingres (1780-1867) was the most important French painter in the neoclassic tradition during the first half of the 19th century and one of the most distinguished draftsmen in the entire history of art. The first half of the 19th century witnessed a profound shift in the course of Western art, which was dominated largely by French painting. It was a period of transition: new attitudes about painting were pervasive, many of which represented a break with the tradition of Renaissance illusionism and were harbingers of the modern painting forged by Édouard Manet and the impressionists. These new attitudes were present in both neoclassicism and romanticism, the two dominant styles of French painting between 1780 and 1850. The art of J. A. D. Ingres must be seen within this complex situation: as a student of Jacques Louis David, the first of the neoclassicists, Ingres fashioned himself as the champion of that tradition; yet his work frequently expressed the exotic temperament of the romantics. Likewise, as much as Ingres emulated Raphael and the Renaissance, his art never wholly conformed to pictorial values of that sensibility. Instead, much of its thrust and meaning yields only to the terms of modernism. Ingres was born on Aug. 29, 1780, in Montauban, where his father, Joseph, was a sculptor of ornamental work. In 1791 Ingres entered the Toulouse Academy and studied history and landscape painting as well as sculpture. In 1797 he moved to Paris to study with David; 2 years later Ingres entered the École des Beaux-Arts. These decisions signaled Ingres’s allegiance to both the prevailing public style of his day and the great tradition of classical Renaissance painting in general. Like nearly every serious artist at the École des Beaux-Arts, Ingres wished to study in Rome, the locus of classical antiquity to which the École philosophically aspired. The opportunity arrived in 1801, when he won the coveted Prix de Rome with the Envoys from Agamemnon. Because of political conditions, however, the stipend for the Prix de Rome did not become available until 1806, and it was not until the end of that year that Ingres finally reached the Eternal City. He spent the next 4 years at the French Academy in Rome. In the words of Walter Friedlaender, „Ingres belonged there—he was a ’southerner,‘ like Poussin or Claude,“ the two French masters who had preceded him there more than a century before and had stayed throughout most of their careers (…)“ | YouTube
Jean-Auguste-Dominique Ingres – The Duke of Orléans | Christie’s |
https://www.christies.com/ | Alan Wintermute, a specialist with the Old Master Paintings department in New York, discuses a historically significant portrait that ‘absolutely captures the look of a certain era’ — offered in Classic Week at Christie’s With his father’s ascension to the French throne in 1830, Ferdinand-Philippe received the titles of duc d’Orléans and Prince Royal, heir apparent to the throne. Throughout the 1830s, he distinguished himself in a series of military campaigns in Flanders and Algeria, and his military career increased his public popularity and prestige. Ferdinand-Philippe was also an enthusiastic lover of the arts and an active patron. Every year he spent up to 150,000 francs from his royal allowance on art and cultural patronage, and he filled his apartments at the Tuileries Palace with medieval and Renaissance objects, Chinese and Japanese porcelains, 18th-century French furniture and modern paintings. He was an avid collector of contemporary canvases by Delacroix, Decamps, Delaroche and Lami, as well as Barbizon landscapes by Corot, Rousseau and Paul Huet. But he was especially drawn to the art of Jean-Auguste-Dominique Ingres, who he commissioned to paint his portrait in 1841. ‘Ingres is perhaps the greatest French portraitist of the 19th century,’ says Alan Wintermute, a specialist with the Old Master Paintings department in New York. ‘Portraits by him are extremely rare.’ In the principal version of this portrait of Prince Ferdinand-Philippe, which hangs in the Louvre, the duke is presented at three-quarters length, in a civilian setting, standing in his salon at the Tuileries Palace. Despite its opulent setting and high level of finish, the portrait was completed quickly and exhibited by Ingres in his studio in the spring of 1842. Shortly afterwards, the duke died in an accident, unleashing a wave of grief. ‘This painting was committed by his wife, probably very shortly after he was killed,’ explains Wintermute. ‘It absolutely captures the look of a certain era, this moment in mid-century France. It is a grand royal object from the very last gasp of the Bourbon monarchy.’ Jean-Auguste-Dominique Ingres, Portrait of Ferdinand-Philippe-Louis-Charles-Henri of Bourbon Orleans, Duke of Orleans. Oil on canvas. 29 3/8 x 23 7/8 in. (74.5 x 60.5 cm.). Estimate: $400,000-600,000. This work is offered in the Revolution sale on 13 April at Christie’s in New York | YouTube
Jean-Auguste-Dominique Ingres | „Comtesse d’Haussonville“ | The Frick Collection | https://www.frick.org/ | Google has worked with seventeen art museums, including The Frick Collection and three other US institutions (The Metropolitan Museum of Art and the Museum of Modern Art, in New York and, the Freer Gallery of Art, Smithsonian, in Washington D.C.), to create an online resource where visitors can explore museums from around the world, discover and view works of art at very powerful zoom levels, and even create and share their own virtual collections of masterpieces. The results of this global partnership can be explored at googleartproject.com | YouTube
WIKIPEDIA
JEAN-AUGUST-DOMINIQUE INGRES
VIDEO / FILM
Jean Auguste Dominique Ingres | A collection of 157 paintings | LearnFromMaters | Description: „Jean Auguste Dominique Ingres (1780-1867) was the most important French painter in the neoclassic tradition during the first half of the 19th century and one of the most distinguished draftsmen in the entire history of art. The first half of the 19th century witnessed a profound shift in the course of Western art, which was dominated largely by French painting. It was a period of transition: new attitudes about painting were pervasive, many of which represented a break with the tradition of Renaissance illusionism and were harbingers of the modern painting forged by Édouard Manet and the impressionists. These new attitudes were present in both neoclassicism and romanticism, the two dominant styles of French painting between 1780 and 1850. The art of J. A. D. Ingres must be seen within this complex situation: as a student of Jacques Louis David, the first of the neoclassicists, Ingres fashioned himself as the champion of that tradition; yet his work frequently expressed the exotic temperament of the romantics. Likewise, as much as Ingres emulated Raphael and the Renaissance, his art never wholly conformed to pictorial values of that sensibility. Instead, much of its thrust and meaning yields only to the terms of modernism. Ingres was born on Aug. 29, 1780, in Montauban, where his father, Joseph, was a sculptor of ornamental work. In 1791 Ingres entered the Toulouse Academy and studied history and landscape painting as well as sculpture. In 1797 he moved to Paris to study with David; 2 years later Ingres entered the École des Beaux-Arts. These decisions signaled Ingres’s allegiance to both the prevailing public style of his day and the great tradition of classical Renaissance painting in general. Like nearly every serious artist at the École des Beaux-Arts, Ingres wished to study in Rome, the locus of classical antiquity to which the École philosophically aspired. The opportunity arrived in 1801, when he won the coveted Prix de Rome with the Envoys from Agamemnon. Because of political conditions, however, the stipend for the Prix de Rome did not become available until 1806, and it was not until the end of that year that Ingres finally reached the Eternal City. He spent the next 4 years at the French Academy in Rome. In the words of Walter Friedlaender, „Ingres belonged there—he was a ’southerner,‘ like Poussin or Claude,“ the two French masters who had preceded him there more than a century before and had stayed throughout most of their careers (…)“ | YouTube
Jean-Auguste-Dominique Ingres – The Duke of Orléans | Christie’s |
https://www.christies.com/ | Alan Wintermute, a specialist with the Old Master Paintings department in New York, discuses a historically significant portrait that ‘absolutely captures the look of a certain era’ — offered in Classic Week at Christie’s With his father’s ascension to the French throne in 1830, Ferdinand-Philippe received the titles of duc d’Orléans and Prince Royal, heir apparent to the throne. Throughout the 1830s, he distinguished himself in a series of military campaigns in Flanders and Algeria, and his military career increased his public popularity and prestige. Ferdinand-Philippe was also an enthusiastic lover of the arts and an active patron. Every year he spent up to 150,000 francs from his royal allowance on art and cultural patronage, and he filled his apartments at the Tuileries Palace with medieval and Renaissance objects, Chinese and Japanese porcelains, 18th-century French furniture and modern paintings. He was an avid collector of contemporary canvases by Delacroix, Decamps, Delaroche and Lami, as well as Barbizon landscapes by Corot, Rousseau and Paul Huet. But he was especially drawn to the art of Jean-Auguste-Dominique Ingres, who he commissioned to paint his portrait in 1841. ‘Ingres is perhaps the greatest French portraitist of the 19th century,’ says Alan Wintermute, a specialist with the Old Master Paintings department in New York. ‘Portraits by him are extremely rare.’ In the principal version of this portrait of Prince Ferdinand-Philippe, which hangs in the Louvre, the duke is presented at three-quarters length, in a civilian setting, standing in his salon at the Tuileries Palace. Despite its opulent setting and high level of finish, the portrait was completed quickly and exhibited by Ingres in his studio in the spring of 1842. Shortly afterwards, the duke died in an accident, unleashing a wave of grief. ‘This painting was committed by his wife, probably very shortly after he was killed,’ explains Wintermute. ‘It absolutely captures the look of a certain era, this moment in mid-century France. It is a grand royal object from the very last gasp of the Bourbon monarchy.’ Jean-Auguste-Dominique Ingres, Portrait of Ferdinand-Philippe-Louis-Charles-Henri of Bourbon Orleans, Duke of Orleans. Oil on canvas. 29 3/8 x 23 7/8 in. (74.5 x 60.5 cm.). Estimate: $400,000-600,000. This work is offered in the Revolution sale on 13 April at Christie’s in New York | YouTube
Jean-Auguste-Dominique Ingres | „Comtesse d’Haussonville“ | The Frick Collection | https://www.frick.org/ | Google has worked with seventeen art museums, including The Frick Collection and three other US institutions (The Metropolitan Museum of Art and the Museum of Modern Art, in New York and, the Freer Gallery of Art, Smithsonian, in Washington D.C.), to create an online resource where visitors can explore museums from around the world, discover and view works of art at very powerful zoom levels, and even create and share their own virtual collections of masterpieces. The results of this global partnership can be explored at googleartproject.com | YouTube
WIKIPEDIA
JEAN-AUGUST-DOMINIQUE INGRES
VIDEO / FILM
Jean Auguste Dominique Ingres | A collection of 157 paintings | LearnFromMaters | Description: „Jean Auguste Dominique Ingres (1780-1867) was the most important French painter in the neoclassic tradition during the first half of the 19th century and one of the most distinguished draftsmen in the entire history of art. The first half of the 19th century witnessed a profound shift in the course of Western art, which was dominated largely by French painting. It was a period of transition: new attitudes about painting were pervasive, many of which represented a break with the tradition of Renaissance illusionism and were harbingers of the modern painting forged by Édouard Manet and the impressionists. These new attitudes were present in both neoclassicism and romanticism, the two dominant styles of French painting between 1780 and 1850. The art of J. A. D. Ingres must be seen within this complex situation: as a student of Jacques Louis David, the first of the neoclassicists, Ingres fashioned himself as the champion of that tradition; yet his work frequently expressed the exotic temperament of the romantics. Likewise, as much as Ingres emulated Raphael and the Renaissance, his art never wholly conformed to pictorial values of that sensibility. Instead, much of its thrust and meaning yields only to the terms of modernism. Ingres was born on Aug. 29, 1780, in Montauban, where his father, Joseph, was a sculptor of ornamental work. In 1791 Ingres entered the Toulouse Academy and studied history and landscape painting as well as sculpture. In 1797 he moved to Paris to study with David; 2 years later Ingres entered the École des Beaux-Arts. These decisions signaled Ingres’s allegiance to both the prevailing public style of his day and the great tradition of classical Renaissance painting in general. Like nearly every serious artist at the École des Beaux-Arts, Ingres wished to study in Rome, the locus of classical antiquity to which the École philosophically aspired. The opportunity arrived in 1801, when he won the coveted Prix de Rome with the Envoys from Agamemnon. Because of political conditions, however, the stipend for the Prix de Rome did not become available until 1806, and it was not until the end of that year that Ingres finally reached the Eternal City. He spent the next 4 years at the French Academy in Rome. In the words of Walter Friedlaender, „Ingres belonged there—he was a ’southerner,‘ like Poussin or Claude,“ the two French masters who had preceded him there more than a century before and had stayed throughout most of their careers (…)“ | YouTube
Jean-Auguste-Dominique Ingres – The Duke of Orléans | Christie’s |
https://www.christies.com/ | Alan Wintermute, a specialist with the Old Master Paintings department in New York, discuses a historically significant portrait that ‘absolutely captures the look of a certain era’ — offered in Classic Week at Christie’s With his father’s ascension to the French throne in 1830, Ferdinand-Philippe received the titles of duc d’Orléans and Prince Royal, heir apparent to the throne. Throughout the 1830s, he distinguished himself in a series of military campaigns in Flanders and Algeria, and his military career increased his public popularity and prestige. Ferdinand-Philippe was also an enthusiastic lover of the arts and an active patron. Every year he spent up to 150,000 francs from his royal allowance on art and cultural patronage, and he filled his apartments at the Tuileries Palace with medieval and Renaissance objects, Chinese and Japanese porcelains, 18th-century French furniture and modern paintings. He was an avid collector of contemporary canvases by Delacroix, Decamps, Delaroche and Lami, as well as Barbizon landscapes by Corot, Rousseau and Paul Huet. But he was especially drawn to the art of Jean-Auguste-Dominique Ingres, who he commissioned to paint his portrait in 1841. ‘Ingres is perhaps the greatest French portraitist of the 19th century,’ says Alan Wintermute, a specialist with the Old Master Paintings department in New York. ‘Portraits by him are extremely rare.’ In the principal version of this portrait of Prince Ferdinand-Philippe, which hangs in the Louvre, the duke is presented at three-quarters length, in a civilian setting, standing in his salon at the Tuileries Palace. Despite its opulent setting and high level of finish, the portrait was completed quickly and exhibited by Ingres in his studio in the spring of 1842. Shortly afterwards, the duke died in an accident, unleashing a wave of grief. ‘This painting was committed by his wife, probably very shortly after he was killed,’ explains Wintermute. ‘It absolutely captures the look of a certain era, this moment in mid-century France. It is a grand royal object from the very last gasp of the Bourbon monarchy.’ Jean-Auguste-Dominique Ingres, Portrait of Ferdinand-Philippe-Louis-Charles-Henri of Bourbon Orleans, Duke of Orleans. Oil on canvas. 29 3/8 x 23 7/8 in. (74.5 x 60.5 cm.). Estimate: $400,000-600,000. This work is offered in the Revolution sale on 13 April at Christie’s in New York | YouTube
Jean-Auguste-Dominique Ingres | „Comtesse d’Haussonville“ | The Frick Collection | https://www.frick.org/ | Google has worked with seventeen art museums, including The Frick Collection and three other US institutions (The Metropolitan Museum of Art and the Museum of Modern Art, in New York and, the Freer Gallery of Art, Smithsonian, in Washington D.C.), to create an online resource where visitors can explore museums from around the world, discover and view works of art at very powerful zoom levels, and even create and share their own virtual collections of masterpieces. The results of this global partnership can be explored at googleartproject.com | YouTube
