81 Facts About Jean-Dominique Ingres

Jean-Dominique Ingres was profoundly influenced by past artistic traditions and aspired to become the guardian of academic orthodoxy against the ascendant Romantic style.

Jean-Dominique Ingres received few commissions during this period for the history paintings he aspired to paint, but was able to support himself and his wife as a portrait painter and draughtsman.

Jean-Dominique Ingres was finally recognized at the Salon in 1824, when his Raphaelesque painting, The Vow of Louis XIII, was met with acclaim, and Ingres was acknowledged as the leader of the Neoclassical school in France.

Jean-Dominique Ingres was born in Montauban, Tarn-et-Garonne, France, the first of seven children of Jean-Marie-Joseph Jean-Dominique Ingres and his wife Anne Moulet .

Jean-Dominique Ingres's father was a successful jack-of-all-trades in the arts, a painter of miniatures, sculptor, decorative stonemason, and amateur musician; his mother was the nearly illiterate daughter of a master wigmaker.

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From his father the young Jean-Dominique Ingres received early encouragement and instruction in drawing and music, and his first known drawing, a study after an antique cast, was made in 1789.

Jean-Dominique Ingres won prizes in several disciplines, such as composition, "figure and antique", and life studies.

Jean-Dominique Ingres did not want to simply make portraits or illustrations of real life like his father; he wanted to represent the heroes of religion, history and mythology, to idealize them and show them in ways that explained their actions, rivaling the best works of literature and philosophy.

Jean-Dominique Ingres was distinguished not just by the candor of his character and his disposition to work alone.

Jean-Dominique Ingres came in second in his first attempt, but in 1801 he took the top prize with The Ambassadors of Agamemnon in the tent of Achilles.

Jean-Dominique Ingres found inspiration in the works of Raphael, in Etruscan vase paintings, and in the outline engravings of the English artist John Flaxman.

Jean-Dominique Ingres assimilated their clarity and monumentality into his own portrait style.

Napoleon is not known to have granted the artists a sitting, and Jean-Dominique Ingres's meticulously painted portrait of Bonaparte, First Consul appears to be modelled on an image of Napoleon painted by Antoine-Jean Gros in 1802.

Jean-Dominique Ingres painted a new portrait of Napoleon for presentation at the 1806 Salon, this one showing Napoleon on the Imperial Throne for his coronation.

Newly arrived in Rome, Jean-Dominique Ingres read with mounting indignation the relentlessly negative press clippings sent to him from Paris by his friends.

Traditionally fellows sent paintings of male Greek or Roman heroes, but for his first samples Jean-Dominique Ingres sent Baigneuse a mi-corps, a painting of the back of a young woman bathing, based on an engraving of an antique vase, and La Grande Bagneuse, a larger painting of the back of a nude bather, and the first Jean-Dominique Ingres model to wear a turban, a detail he borrowed from the Fornarina by his favourite painter, Raphael.

In later years Jean-Dominique Ingres painted several variants of these compositions; another nude begun in 1807, the Venus Anadyomene, remained in an unfinished state for decades, to be completed forty years later and finally exhibited in 1855.

In 1811 Jean-Dominique Ingres completed his final student exercise, the immense Jupiter and Thetis, a scene from the Iliad of Homer: the goddess of the Sea, Thetis, pleads with Zeus to act in favor of her son Achilles.

Jean-Dominique Ingres wrote with enthusiasm that he had been planning to paint this subject since 1806, and he intended to "deploy all of the luxury of art in its beauty".

Jean-Dominique Ingres painted a large-scale Romulus' Victory Over Acron for the salon of the Empress and The Dream of Ossian, based on a book of poems that Napoleon admired, for the ceiling of the Emperor's bedroom.

Jean-Dominique Ingres traveled to Naples in the spring of 1814 to paint Queen Caroline Murat.

Jean-Dominique Ingres never received payment, due to the collapse of the Murat regime and execution of Joachim Murat in 1815.

Jean-Dominique Ingres continued to produce masterful portraits, in pencil and oils, of almost photographic precision; but with the departure of the French administration, the painting commissions were rare.

Jean-Dominique Ingres is estimated to have made some five hundred portrait drawings, including portraits of his famous friends.

Jean-Dominique Ingres's friends included many musicians including Paganini, and he regularly played the violin with others who shared his enthusiasm for Mozart, Haydn, Gluck, and Beethoven.

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Jean-Dominique Ingres produced a series of small paintings in what was known as the Troubador style, idealized portrayals of events in the Middle Ages and Renaissance.

In 1816 Jean-Dominique Ingres produced his only etching, a portrait of the French ambassador to Rome, Monsignor Gabriel Cortois de Pressigny.

Jean-Dominique Ingres loathed the subject—he regarded the Duke as one of history's brutes—and struggled to satisfy both the commission and his conscience.

Jean-Dominique Ingres continued to send works to the Salon in Paris, hoping to make his breakthrough there.

Jean-Dominique Ingres still had to depend upon his portraits and drawings for income, but his luck began to change.

Jean-Dominique Ingres's history painting Roger Freeing Angelica was purchased for the private collection of Louis XVIII, and was hung in the Musee du Luxembourg in Paris, which was newly devoted to the work of living artists.

Jean-Dominique Ingres's painting, The Vow of Louis XIII, inspired by Raphael, was purely in the Renaissance style, and depicted King Louis XIII vowing to dedicate his reign to the Virgin Mary.

Jean-Dominique Ingres spent four years bringing the large canvas to completion, and he took it to the Paris Salon in October 1824, where it became the key that finally opened the door of the Paris art establishment and to his career as an official painter.

Success of Jean-Dominique Ingres's painting led in 1826 to a major new commission, The Apotheosis of Homer, a giant canvas which celebrated all the great artists of history, intended to decorate the ceiling of one of the halls of the Museum Charles X at the Louvre.

Jean-Dominique Ingres was unable to finish the work in time for the 1827 Salon, but displayed the painting in grisaille.

Jean-Dominique Ingres exhibited in the Salon of 1833, where his portrait of Louis-Francois Bertin was a particular success.

Jean-Dominique Ingres conceived the painting as the summation of all of his work and skill, and worked on it for ten years before displaying it at the 1834 Salon.

Jean-Dominique Ingres was surprised, shocked and angered by the response; the painting was attacked by both the neoclassicists and by the romantics.

Jean-Dominique Ingres was accused of historical inaccuracy, for the colours, and for the feminine appearance of the Saint, who looked like a beautiful statue.

Jean-Dominique Ingres later did participate in some semi-public expositions and a retrospective of his work at the 1855 Paris International Exposition, but never again took part in the Salon or submitted his work for public judgement.

Jean-Dominique Ingres devoted much of his attention to the training of the painting students, as he was later to do at the Ecole des Beaux-Arts in Paris.

Jean-Dominique Ingres re-organized the Academy, increased the size of the library, added many molds of classical statues to the Academy collection, and assisted the students in getting public commissions in both Rome and Paris.

Jean-Dominique Ingres traveled to Orvieto, Siena, and to Ravenna and Urbino to study the paleochristian mosaics, medieval murals and Renaissance art.

Jean-Dominique Ingres devoted considerable attention to music, one of the subjects of the academy; he welcomed Franz Liszt and Fanny Mendelssohn.

Jean-Dominique Ingres joined the music students and his friend Niccolo Paganini in playing Beethoven's violin works.

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Jean-Dominique Ingres did complete a small number of works which he sent to patrons in Paris.

Jean-Dominique Ingres's painting of Aniochius and Stratonice, despite its small size, just one meter, was a major success for Ingres.

Jean-Dominique Ingres was offered a commission to paint a portrait of the Duke, the heir to the throne, and another from the Duc de Lunyes to create two huge murals for the Chateau de Dampierre.

Jean-Dominique Ingres received a commission to design seventeen stained glass windows for the chapel on the place where the accident occurred, and a commission for eight additional stained-glass designs for Orleans chapel in Dreux.

Jean-Dominique Ingres became a professor at the Ecole des Beaux-Arts in Paris.

Jean-Dominique Ingres took his students frequently to the Louvre to the see the classical and Renaissance art, instructing them to look straight ahead and to avoid the works of Rubens, which he believed deviated too far from the true values of art.

Jean-Dominique Ingres declared that the revolutionaries were "cannibals who called themselves French", but during the Revolution completed his Venus Anadyomene, which he had started as an academic study in 1808.

Jean-Dominique Ingres welcomed the patronage of the new government of Louis-Napoleon, who in 1852 became Emperor Napoleon III.

In 1843 Jean-Dominique Ingres began the decorations of the great hall in the Chateau de Dampierre with two large murals, the Golden Age and the Iron Age, illustrating the origins of art.

Jean-Dominique Ingres made more than five hundred preparatory drawings, and worked on the enormous project for six years.

Jean-Dominique Ingres was rejuvenated, and in the decade that followed he completed several significant works, including the portrait of Princesse Albert de Broglie, nee Josephine-Eleonore-Marie-Pauline de Galard de Brassac de Bearn.

In 1856 Jean-Dominique Ingres completed The Source, a painting begun in 1820 and closely related to his Venus Anadyomene.

Jean-Dominique Ingres painted two versions of Louis XIV and Moliere, and produced variant copies of several of his earlier compositions.

Jean-Dominique Ingres painted small replicas of Paolo and Francesca and Oedipus and the Sphinx.

Jean-Dominique Ingres died of pneumonia on 14 January 1867, at the age of eighty-six, in his apartment on the Quai Voltaire in Paris.

Jean-Dominique Ingres is interred in the Pere Lachaise Cemetery in Paris with a tomb sculpted by his student Jean-Marie Bonnassieux.

Jean-Dominique Ingres's style was formed early in life and changed comparatively little.

Abhorring the visible brushstroke, Jean-Dominique Ingres made no recourse to the shifting effects of colour and light on which the Romantic school depended; he preferred local colours only faintly modelled in light by half tones.

In Roger Freeing Angelica, the female nude seems merely juxtaposed with the meticulously rendered but inert figure of Roger flying to the rescue on his hippogriff, for Jean-Dominique Ingres was rarely successful in the depiction of movement and drama.

Jean-Dominique Ingres was averse to theories, and his allegiance to classicism—with its emphasis on the ideal, the generalized, and the regular—was tempered by his love of the particular.

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Jean-Dominique Ingres had originally planned to paint Bertin standing, but many hours of effort ended in a creative impasse before he decided on a seated pose.

Jean-Dominique Ingres never began a painting without first resolving the drawing, usually with a long series of drawing in which he refined the composition.

Jean-Dominique Ingres demanded that his students at the Academy and the Ecole des Beaux-Arts perfect their drawing before anything else; he declared that a "thing well drawn is always a thing well painted".

Jean-Dominique Ingres often told me that he got the essence of the portrait while lunching with the model who, off guard, became more natural.

Jean-Dominique Ingres drew his portrait drawings on wove paper, which provided a smooth surface very different from the ribbed surface of laid paper .

Jean-Dominique Ingres often used female models when testing poses for male figures, as he did in drawings for Jesus Among the Doctors.

Jean-Dominique Ingres drew a number of landscape views while in Rome, but he painted only one pure landscape, the small tondo Raphael's Casino .

Jean-Dominique Ingres's paintings are often characterized by strong local colours, such as the "acid blues and bottle greens" Kenneth Clark professed to "perversely enjoy" in La Grande Odalisque.

The rivalry first emerged at the Paris Salon of 1824, where Jean-Dominique Ingres exhibited The Vow of Louis XIII, inspired by Raphael, while Delacroix showed The Massacre at Chios, depicting a tragic event in the Greek War of Independence.

Jean-Dominique Ingres's painting was calm, static and carefully constructed, while the work of Delacroix was turbulent, full of motion, colour, and emotion.

Dispute between the two painters and schools reappeared at the 1827 Salon, where Jean-Dominique Ingres presented L'Apotheose d'Homer, an example of classical balance and harmony, while Delacroix showed The Death of Sardanapalus, another glittering and tumultuous scene of violence.

Jean-Dominique Ingres can be considered a man gifted with high qualities, an eloquent evoker of beauty, but deprived of the energetic temperament which creates the fatality of genius.

Jean-Dominique Ingres was a conscientious teacher and was greatly admired by his students.

Jean-Dominique Ingres considered Chasseriau his truest disciple—even predicting, according to an early biographer, that he would be "the Napoleon of painting".

An important retrospective of works by Jean-Dominique Ingres was held at the Salon d'automne in Paris in 1905, which was visited by Picasso, Matisse, and many other artists.

Jean-Dominique Ingres was an amateur violin player from his youth, and played for a time as second violinist for the orchestra of Toulouse.