Jean-Auguste-Dominique Ingres (1780 - 1867) - was born in Montauben (France), where he was the eldest of seven children. His father was a gifted, creative person: he was engaged in sculpture, painted miniatures, was a stone carver, and also a musician - his mother was semi-literate. The father always encouraged his son in his drawing and music studies. Ingres studied at a local school, but his education was interrupted by the Great French Revolution (lack of education will always interfere with Ingres in his subsequent activities).

In 1791 he moved to Toulouse, where he was enrolled in the Royal Academy of Arts, Sculpture and Architecture. There his teachers were the sculptor Jean-Pierre Vigan, Jean Bryant, and the artist Joseph Roque, who was able to explain to the young artist the essence of Raphael's work. He developed his musical talent under the guidance of the violinist Lejeune. From 13 to 16 years old, he was second violinist in the Toulouse Capitol Orchestra. Love for the violin will accompany him throughout his life.

In August 1797, Ingres traveled to Paris to take lessons from Jacques-Louis David (a leading artist during the French Revolution). From his teacher Ingres adopts the neoclassical traditions in painting.

In October 1799, Ingres was admitted to the School of Fine Arts in the painting department. In 1800 he painted the painting "The Ambassadors of Agamemnon in the tent of Achilles", thanks to which in 1801 he received the Grand Prix for a trip to Rome. However, this event was postponed until 1806 due to lack of funds.

Working in Paris before leaving for Rome, the French painter worked hard, drawing inspiration from the work and engravings of the English artist John Flaxman. In 1802 Ingres made his debut at a prestigious painting exhibition. In 1803, Ingres and five other painters received an order to depict a full-length portrait of Napoleon I; these works were sent to the cities of Liege, Antwerp, Dunkirk, Brussels and Ghent, which became part of France in 1801. Most likely Bonaparte did not pose for the artists, and Ingres performed his work on the portrait of Napoleon by Antoine-Jean Gros in 1802.

In the summer of 1806, Ingres became engaged to Marie-Anne-Julie Forestier, and in September he left for Rome. This happened on the eve of a large art exhibition at which he was supposed to present his paintings, so he was reluctant to leave. His works "Self-portrait", "Portrait of Philibert Riviere", "Portrait of Mademoiselle Riviere" and "Napoleon on the Imperial Throne" made a mixed impression on the public. Critics were equally hostile to the works of this French painter, calling them archaic. Jean Auguste Dominique Ingres strove for the ideal of classicism, wanted to do something extraordinary and one of a kind. In this he was helped by the objects of art that filled the Louvre, thanks to the military campaigns of Napoleon: he could study and compare ancient masterpieces and samples of European painting. Ingres learned this reaction while already in Rome, and gave a vow never to participate in exhibitions again.

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Agamemnon's ambassadors in the tent at Achilles

Portrait of Bonaparte

Portrait of Mademoiselle Riviere

Portrait of Philibert Riviera

Portrait of Frederic Demare

Napoleon I on the imperial throne

Portrait of Madame Aymon

While in Rome, Ingres as the holder of a "scholarship" was obliged to send his work to Paris to show progress in his skills: in 1808, the paintings "Oedipus and the Sphinx" and "The Bather" demonstrated the artist's skill in the nude. In 1807, he began work on the painting "Venus of Andiomede", but he was able to finish it only in 1848. He did not stop working on portraits.

In 1810 his grant ended, but Ingres decided to stay in Rome, finding support in the occupying French government.

In 1811 Jean-Auguste-Dominique finished his painting "Jupiter and Thetis", which once again received harsh condemnation in Paris. Ingres was hurt, the public was indifferent, and his colleagues considered him a renegade. Only a few representatives of the romantic movement recognized his talent, which Ingres opposed.

In 1813, Ingres married Madeleine Chapelle, with whom he was happily married: Madame Ingres selflessly believed in her husband, which gave her the strength to endure all the troubles. He continued to endure scornful reviews, and his Don Pedro Toledo Kisses the Sword of Henry IV, Raphael and Fornarina, several portraits, and works in the Sistine Chapel met with hostile criticism in 1814.

In 1812, Jean Auguste Dominique wrote "Virgil Reads the Aeneid" for the residence of the French governor in Rome, in 1813 - "Romulus the conqueror of Akron", "The Dream of Ossian" - these colossal works were written for the Roman palace of Napoleon. These paintings essentially became the embodiment of the historical painting that Ingres wanted to show the world.

In the spring of 1814 Ingres went to Naples, where he painted portraits of Queen Caroline Murat and her family, as well as three works: The Betrothal of Raphael, Big Odalisque and Paolo and Francesca.

In 1815, along with the collapse of Napoleon, Murat's regime was defeated, which made Ingres find Rome without the protection of the French authorities. He was forced to make a living by painting small portraits, which he considered a humiliating occupation. It should be noted that these portraits were very well executed and are now highly regarded as invaluable pieces of art.

In 1817, Ingres performed "Henry IV plays with his children", and the next year - "The Death of Leonardo da Vinci." In Rome, the painting "Christ Gives the Keys to Peter" (1817-1820) was appreciated, but the Vatican authorities forbade him to send this work to Paris for an exhibition.

In 1816 Ingres received an order to complete the portrait of "Fernando Alvarez de Toledo, Duke of Alba" - as a reward to the Duke from the Pope for suppressing the Protestant Reformation. Jean Auguste Dominique, despite his dislike for this man, makes some sketches, but in the end refuses to work, wishing to remain true to his convictions.

During this time, Ingres developed friendships with musicians, including Paganini, and regularly practiced violin. In 1819, he sent to Paris his works "Grand Odalisque", "Philip V and Marshal Berwick" and "Roger Freeing Angelica", which received all the same unflattering reviews.

Bather

Portrait of Madame Duvache

Bather

Oedipus and the Sphinx

Portrait of Jose-Antonio Moltedo

Portrait of Madame Pankuk

Portrait of Charles-Joseph-Lauren Corday

Jupiter and Thetis

Virgil reads the Aeneid

Romulus is Akron's winner

Portrait of Baron Jacques Mark

Ossian's dream

Big odalisque

Don Pedro Toledo kissing the sword of Henry IV

Portrait of Madame Sennon

Raphael and Fornarina

The Sistine Chapel

Henry IV plays with his children

Death of Leonardo da Vinci

Paolo and Francesca

Roger Freeing Angelica

Jean-Auguste-Dominique Ingres and his wife moved to Florence in 1820 at the invitation of the sculptor Lorenzo Bartolini, his old Parisian friend. But his relationship with L. Bartolini was quite tense, as the contrast between the success of the sculptor and the poverty of Ingres became too sharp. In 1821 he completed the painting "The Entry of Charles V to Paris". But the main occupation of Ingres during this period was the painting "The Vow of Louis XIII". He worked hard on it for four years and in 1824 he went with her to Paris.

This exhibition brought Ingres an overwhelming success, critics were delighted with his work: conceived in the Raphael style, it was free from archaisms. In 1825 Ingres was awarded the Cross of the Legion of Honor. From 1826 to 1834, Ingres painted many paintings that were very well received by the public. Critics began to view the painter as the standard-bearer of classicism: the realism of his paintings was fascinating, but some critics considered excessive naturalism to be vulgar.

In 1834 Ingres returned to Rome to take over as director of the École de France. Despite his administrative duties, the painter does not stop painting: from under his brush come out "Antiochus and Stratonica", "Portrait of Luigi Cherubini", "Odalisque with a Slave", etc.

The vow of Louis XIII

Odalisque with a slave

Portrait of Madame Marie Marcotte

Apotheosis of Homer

Portrait of Louis-Francois Bertin

Antiochus and Stratonica

Portrait of Luigi Cherubini

Ingres returns to Paris in June 1841. One of his first works after his return is "Portrait of the Duke of Orleans". The duke died a few weeks after the completion of the portrait, and Ingres produced several copies of the painting.

In 1843 Jean Auguste Dominique enthusiastically began painting the great hall at the Château de Dampierre. But by 1849, his fervor had died out due to the death of Ingres's wife, and the painting was not completed. In 1851 he still wrote Jupiter and Antiope, but in July of the same year he became a professor at the School of Fine Arts.

In 1852 Ingres married 43-year-old Dolphin Ramel (the artist was 71 years old). This marriage gave strength to the painter, and in the next decade Ingres completed several important works. The Apotheosis of Napoleon I, painted in 1853 on the ceiling of the hall in the Hotel de Ville (Paris), was a great work, The Portrait of Princess Albert de Broglie was completed in 1853 and Jeanne d'Arc at the coronation of Charles VII appeared in 1854 (the last work was done mainly with the help of assistants). In 1855, Ingres participates in an international exhibition, where a whole room was allocated for his work.

In the last years of his life, Ingres executed a number of canvases on a historical theme and religious paintings, many of which were the detailing of previously written works.

He did not recognize the textured application of paint, large strokes, exaggeration of the effects of light and color (which is typical for the romantic school). He preferred local colors, only faintly passing into halftones, therefore the most expressive are his paintings, where one or two figures are depicted.

The heroes of Ingres' paintings fully reflect his limited literary predilections: he read and reread Homer, Virgil, Plutarch, Dante, the life stories of artists. He used in his paintings only a few themes from his favorite works. Ingres knew how to quickly do his work, but most often he worked on one painting for several years.

It has already been mentioned that Ingres worked a lot as a portrait painter, although all this time he could have spent on historical painting. The most famous of all the portraits of the French painter is the portrait of the journalist Louis-François Bertin, he quickly became a symbol of the growing economic and political power of the bourgeoisie. His portraits of women have a very wide range of emotional colors: from the sensual Portrait of Madame Senonne to the realistic Portrait of Mademoiselle Jeanne Gonin and the cold Portrait of Princess de Broglie.

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Biography

Jean Auguste Dominique Ingres was born in the south of France - in Montaban on August 29, 1780 .. His father was a painter and sculptor. He early gave the boy a pencil, also instilled in him a love of music, teaching him to sing and play the violin. The earliest dated work of the artist is a drawing of a woman's head from an antique cast, performed by Ingres at the age of 9. The boy hesitated for a long time in determining his career. In the end, a deep love for music gave way to a passion for drawing.

In 1791 he entered the Toulouse Academy of Fine Arts. He was a student of G.J. Rock and Vigan, collaborated with J. Briand. Studying at the Academy and in the workshops of his teachers, Ingres simultaneously earned money by playing the violin in the orchestra of the Toulouse opera house "Capitol" (Jean Dominique's parents did not have much income, and from a young age he had to think about making money). Music has always remained for Ingres favorite, after drawing and painting, occupation.

Ingres receives an award for drawing from life at the Toulouse Young Artists Festival. The teachers unanimously predict a bright future for him.

In August 1797 Ingres entered the studio of the famous Jacques Louis David in Paris, and two years later he was admitted to the School of Fine Arts. David very soon drew attention to the exceptional talent of Jean Dominique and even attracted him as an assistant to work on such a significant work of his as the portrait of Madame Recamier, commissioning him to paint some accessories. Ingres carefully studied everything created by the teacher. The disagreement between them (and the subsequent departure of Ingres from David's workshop) occurred due to the award in 1800 of the Great Roman Prize, which gave the right to continue his studies at the French Academy in Rome for four years. Ingres counted on it, but David strongly insisted that it be given to another of his students.

The artist's first works date back to 1800. To receive the Grand Roman Prize, it was required to be able to construct a multi-figured scene based on a historical or mythological subject. Since the spring of 1800, Ingres has devoted all his efforts to obtaining the award so coveted by every aspiring artist. On September 29, 1801, his attempt was crowned with success - the painting "The Ambassadors of Agamemnon at Achilles" (1801, Paris, School of Fine Arts) was awarded the Great Roman Prize.

01 - Ambassadors of Agamemnon in Achilles' tent, 1801

However, Ingres was never able to receive money from the French treasury, which in return allocated him a studio and a modest content. Therefore, a trip to Italy and a four-year stay as a fellow at the French Academy in Rome due to the unfavorable state of finances were postponed for 5 years.

Ingres systematically attended the so-called Suisse Academy - one of the private art schools in Paris, where for a relatively small fee he could paint living nature. In search of money, the artist tried to illustrate books, but it soon turned out that the most affordable and reliable way to replenish material resources was to paint portraits. From the very first steps in this area, Ingres considered it secondary. He was always weary of fulfilling portrait orders and lamented until the end of his days that they distracted him from more lofty tasks.

The large ceremonial portrait of the First Consul (1803) is associated with the first successes of Ingres as a portrait painter. Later he was exhibited at the Salon (in 1803, 1805), but his first works received a negative assessment from critics.

02 - Portrait of the Consul, 1804

On September 15, 1806, Ingres intended to exhibit several canvases at the Salon: a portrait of his father, Napoleon on the imperial throne, a self-portrait and, most importantly, on which he pinned his hopes - a portrait suite of the Rivière family. Only in Rome did he become aware of how disapproving critics of the Salon reacted to his works.

03 - Portrait of M. Philibert Riviere, 1805

04 - Portrait of Madame Riviere, 1805

05 - Portrait of Mademoiselle Riviere, 1805

Almost 50 years later, preparing for the 1855 exhibition, Ingres, looking for a portrait of Mademoiselle Riviere from the heirs of the depicted one, said: "If I have ever done anything really good, it’s this portrait; and therefore I would be pleased to exhibit it ... ". However, after the Salon of 1806, the painting was never exhibited during the artist's life, and only in 1874 the government acquired it for the Luxembourg Museum, from where it moved to the Louvre.

Many of Ingres's actions were explained by his increased sensitivity to criticism and resentment. In 1806 he moved to Rome, where he soon received a studio.

The retirees of the Académie Française were obliged to send one painting "according to imagination" to Paris as a report every year. For the work, which was to be sent to Paris in the first place, he chose the Greek myth of the wise Oedipus. In the Paris Salon of 1808, the painting "Oedipus and the Sphinx" did not make a particularly strong impression, but it was not seriously criticized either.

06 - Oedipus and the Sphinx, 1808

The most significant of the other paintings that Ingres sent to Paris at the same time was The Seated Woman, now known as The Big Bather (1808, Paris, Louvre). In it, the artist finally found one of the leading motives of his art - the theme of a naked female body ("nude"), which will pass through all of his work. The work that completed the parcels that were obligatory for the retirees of the Academy to Paris, was Ingres's large canvas "Jupiter and Thetis", completed in 1811 and exhibited at the Salon of 1812.

07 - Bather, 1808

08 - Jupiter and Thetis, 1811

The number of different works created by Ingres during this period is truly amazing, especially considering his frequent illnesses, which were severe and prolonged.

While in Rome the French administration felt itself the master of the situation, Ingres received several official orders for decorative works of historical content. The most monumental and elaborate was the five-meter canvas "Romulus Defeating Akron" (1812, Paris, School of Fine Arts). For the ceiling of the bedroom, in the palace of San Giovanni in Laterano Ingres performed the plafond "Dream of Ossiana" (1813, Montauban, Ingres Museum). In the history of French painting of the XIX century. this work was one of the forerunners of the approaching romanticism.

09 - Romulus, the conqueror of Akron brings rich gifts to the temple of Zeus, 1812

10 - Ossian's Dream, 1813

Period 1812-1814 - fruitful in the work of the artist. It is sometimes difficult to trace which of the paintings appeared earlier, since Ingres worked in parallel on several paintings, moving from one to another, making endless corrections and changes.

The master sent several works to the Salon in 1814. From historical compositions, the artist chose the paintings "The Spanish Ambassador Don Pedro Toledsky, Kissing the Sword of Henry IV in the Louvre Gallery", "Raphael and Fornarin" and the composition on a modern subject - "Pope Pius VII in the Sistine Chapel" (1814, Washington, National Gallery). Ingres considered all non-antique themes to be modern, and plots from the history of the XVI-XVII centuries. were completely included in the concept of modern.

11 - Raphael and Fornarina, 1814

12 - Death of Leonardo da Vinci, 1818

In 1819 he exhibited at the Salon the canvases "The Big Odalisque" (1814, Louvre), "Philip V rewards Marshal Berwick with the Golden Chain" (1818, Madrid); Roger Liberating Angelica (1819, Louvre), however, offended by the cold reception of the public and the harsh words of critics, moved to Florence.

13 - Big Odalisque, 1814

14 - Roger Freeing Angelica, 1819

When the "Big Odalisque" appeared at the Salon of 1819, it was greeted primarily as something that did not coincide with accepted traditions. A hail of reproaches fell on Ingres. It was found that he did not know enough light and shadow volumetric modeling, unforgivably violating anatomical fidelity.

Invited by his old friend, the Italian sculptor Lorrenzo Bartolini, the artist moved to Florence at the end of the summer of 1820. They were united by a lot: views on the goals and objectives of the fine arts, an ardent love for music. The period of the greatest spiritual and creative closeness of these two artists falls at the end of 1820, when Ingres is working on the famous portrait of his friend, which is now kept in the Louvre.

15 - Portrait of Paganini, 1819

The artist returned to Paris with a rolled-up "The Vow of Louis XIII". The price set in the order for "The Vow of Louis XIII" - 3,000 francs - was doubled by the administration in connection with the success that the painting had in the Salon of 1824. Awarded the Order of the Legion of Honor personally by Charles X and elected an academician in 1825, Ingres becomes one of the pillars French school.

16 - Vow of Louis XIII, 1824

At the end of 1825, the master opened a studio in Paris for his students. He becomes a teacher, educator of a new generation of artists. Gradually, the artist matures a desire to leave Paris, and his thoughts turn to Italy. He requests that he be appointed director of the French Academy in Rome. This request was granted, and in early December 1834 Ingres left Paris.

Ingres's journey from Paris to Rome lasted about a month. His route led through Milan, Bergamo, Brescia, Verona, Padua, Venice and Florence, with stops for a short rest and sightseeing.

These were the years of material security and external well-being, when Ingres conscientiously and diligently performed his administrative and pedagogical duties, paying relatively little attention to his own creativity.

During Ingres's directorship, the library and gallery collection of casts from antique and Renaissance works were also significantly replenished. The years of his second stay in Rome were marked by the appearance of three new paintings: "Odalisque and the Slave" (1839), "Stratonica" (1840) and "Madonna before the Chalice with the Sacrament" (1841).

17 - Odalisque with a slave, 1839

18 - Antiochus and Stratonica, 1840

When Ingres appeared in the French capital in the spring of 1841, a triumphal meeting was arranged for him. Berlioz dedicated a specially arranged concert to the master, Lup-Philippe invited him to visit Versailles and dine with him at his favorite royal residence in Neuilly. The Comédie-Française troupe sent Ingres an honorary ticket, giving him the right to visit the theater free of charge throughout his life. The last stage of the artist's work is the years of full recognition and glory.

At the same time, Ingres worked on murals in the castle of Dampierre, commissioned by the Duke de Luin (1841-1847, "Iron Age" and "Golden Age", both were not completed).

In 1849 Ingres did not mark any of his paintings. Great grief fell upon him: a serious illness and the death of his beloved wife.

19 - Madame Ingres, 1859

20 - Self-portrait, 1858

In the 1850s, the artist resorted to the help of students, and his own originality was less and less manifested in his works. He signs several Madonnas with his own name.

In 1853 the artist made the ceiling of the Triumph of Napoleon I for the city castle (destroyed in 1871, during the days of the Commune), in 1855 he exhibited his works at the World Exhibition in Paris. In 1862 he was promoted to senator for life.

21 - Triumph of Napoleon, 1853

Until the end of his life, Ingres had amazing energy and efficiency. His vision was preserved so well that it allowed him to perform the most delicate drawings. Carelessness brought this strong organism closer to death. As early as January 8, 1867, in the afternoon, the artist made a sketch for a new religious painting "Christ at the Tomb", using the composition of Giotto, and a few hours after the musical evening at his home, gallantly seeing the ladies to their carriages, he caught a bad cold. To the remark of one of them - to put on something warm and take care of yourself - the artist replied: "Ingres will live and die as a servant of the ladies." The next day he developed severe pneumonia. On January 14, at one in the morning, Ingres died at the age of 87.

In the same year, a personal exhibition of his paintings, sketches and drawings at the École des Beaux-Arts in Paris was dedicated to the artist's memory. Her catalog consisted of 584 numbers. In 1869, the Ingres Museum was opened in Montauban, which has now become a center for the scientific study of the artist's work. The main works of the master remained in France, and most of them are kept in various museums.

Contribution to world culture

Ingres painted pictures on literary, mythological, historical subjects ("Jupiter and Thetis", 1811, Granet Museum, Aix-en-Provence; "The Vow of Louis XIII", 1824, Cathedral in Montauban; "Apotheosis of Homer", 1827, Louvre, Paris ), portraits that are distinguished by the accuracy of observation and the utmost truthfulness of the psychological characteristics (portrait of Madame Senonne, 1814, Louvre, Paris), idealized and at the same time full of a keen sense of the real beauty of nude Ingres's works, especially early ones, are marked by the classical harmony of the composition, a subtle sense of color, the harmony of a clear, light color, but the main role in his work was played by a flexible, plastically expressive linear drawing. Ingres is the author of brilliant pencil portraits and nature studies (most of them are in the Ingres Museum in Montauban). Ingres himself considered himself a historical painter, a follower of David.

22 - The Apotheosis of Homer, 1827

23 - portrait of Madame Sennon, 1814

24 - Venus Anadiomene - 1808-1848

However, in his programmatic mythological and historical compositions, he deviated from the teacher's requirements, bringing in more living observations of nature, religious feeling, expanding the theme, referring, in particular, like romantics to the Middle Ages. If Ingres' historical painting is considered traditional, then his magnificent portraits and sketches from nature are a valuable part of French artistic culture in the 19th century. One of the first Ingres was able to feel and convey not only the peculiar appearance of many people of that time, but also the features of their characters - selfish calculation, callousness, prosaic personality in some, and kindness and spirituality in others. Embossed shape, impeccable drawing, beauty of silhouettes define the style of Ingres' portraits. Accuracy of observation allows the artist to convey the demeanor and specific gesture of each person (portrait of F. Riviera, 1805, Paris, Louvre, portrait of Madame Riviere 1805, Paris, Louvre or Madame Devose (1807, Chantilly, Museum Condé). Ingres himself did not consider the portrait genre worthy of a real artist, although it was in the field of portraiture that he created his most significant works. ”With careful observation of nature and admiration for its perfect forms, the artist’s success is associated with the creation of a number of poetic female images in the paintings“ Big Odalisque ”(1814, Paris, Louvre),“ The Source ” (1820-1856, Paris, Louvre), the latter embodies the ideal of "eternal beauty."

25 - Portrait of Madame Devose, 1807

26 - Portrait of Francois Mario Granier, 1807

27 - Ingress, Paolo and Francesca, 1819

28 - Source, 1820-1856

Having finished this work, begun in his early years, in his old age, Ingres confirmed his loyalty to youthful aspirations and the preserved sense of beauty. If for Ingres, turning to antiquity consisted primarily of admiration for the ideal perfection of the strength and purity of the images of the high Greek classics, then numerous representatives of official art who considered themselves his followers flooded the Salons (exhibition halls) with "odalisques" and "frips", using antiquity only as a pretext for images of a nude female body. Ingres's later work, with the cold abstraction of images characteristic of this period, had a significant impact on the development of academicism in French art of the 19th century.

29 - Princess de Broglie, 1851-1853

30 - Jeanne d "Arc at the coronation of Charles VII, 1854

31 - Portrait of Madame Moatessier, 1856

32 - Turkish Baths, 1862

33 - Portrait of Napoleon on the imperial throne, 1860

Jean Auguste Dominique Ingres (1780 - 1867).

"Study the beautiful ... on your knees. Art should teach us only beauty." Jean Auguste Dominique Ingres is a French artist, adherent of neoclassicism.

A reverent worship of beauty, a truly magical gift of line, which he was endowed with, gave the master's works a special stately calm, harmony and a sense of perfection.

Dominique Ingres was born in the south of France in the ancient city of Montauban. Perhaps his homeland - Gascony - rewarded the artist with persistence in achieving the goal and a violent temperament. According to his contemporaries, he loved and knew how to speak, until old age he retained the swiftness of his movements and a quick-tempered character. His father, an artist and musician, became Dominik's first mentor both in painting and in music. Ingres played the violin beautifully and in his youth earned money on this. Haydn, Mozart, Gluck are his favorite composers. Musical talent is guessed in the melodic rhythms and lines of his paintings. Later he will tell his students: "We must achieve the ability to correctly sing with a pencil and a brush."

Achilles greets the ambassadors of Agamemnon, 1800
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National School of Fine Arts, Paris

From eleven to seventeen years old, Dominique studied at the Toulouse Academy of Arts. The first prize in the 1797 competition for drawing was accompanied by an attestation that predicted that the artist would "glorify the fatherland with his extraordinary talent." In the same year he went to Paris and became a student of the famous David. Focused and stern, he avoids noisy student gatherings, keeps aloof, devoting all his time to work. In 1799 he entered the Paris Academy of Arts and in 1801 received the Rome Prize for the painting "The Ambassadors of Agamemnon at Achilles" (1801, Paris, School of Fine Arts), which gave the right to continue his studies in Rome. However, there is no money in the state and the trip has been postponed.

Napoleon on the imperial throne, 1806
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Since 1802 Ingres began to exhibit at the Salon. He was ordered to "Portrait of Bonaparte - First Consul" (1804, Liege, Museum of Fine Arts), and the artist makes a sketch from life during a short session, finishing the work without a model. Then follows a new order: "Portrait of Napoleon on the Imperial Throne" (1806, Paris, Army Museum). If in the first portrait human traits were still visible: a stern will, a decisive character, then the second portrays not so much a person as his high rank. The thing is very cold, ceremonial, but not devoid of a decorative effect.

Self-portrait, 1804
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Condé Museum, Chantilly

According to "Self-portrait" (1804, Chantilly, Musée Condé), we can judge what Ingres was in those years. Before us is a young man, with an expressive face, full of inspiration and faith in the future. In this early work, the hand of the master is felt: strong composition, clear drawing, confident sculpting of forms, a sense of artistry and harmony of the whole.

Jean Auguste Dominique Ingres: Mademoiselle Riviere, 1806,
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Louvre, Paris

In the Salon of 1806, the artist shows portraits of the State Councilor Riviera, his wife and daughter (all - 1805, Paris, Louvre). The figures are perfectly inscribed in the space of the canvas, the lines, the contours are calligraphic accurate, the details of the Empire setting and the costume are superbly spelled out; traits of individuality of each appear through the external secularity. Particular attention is drawn to the portrait of her daughter (we know nothing about her, except that the girl died in the year the portrait was created). The image of fifteen-year-old Mademoiselle Riviere is not childishly significant. Unlike her parents, she is depicted not in the interior of the living room, but in the landscape. Her figure stands out clearly against the sky, like a monument. The appearance of Carolina Riviere is far from the classical ideal of beauty, but the artist carefully conveys individual characteristics - narrow shoulders, large head, broad-cheeked face, strange, impenetrable gaze of huge black eyes. The master seeks to reveal a special harmony hidden in the "wrong" of its features. “Don't try to create beautiful character,” Ingres said. "You have to find it in the model itself." These portraits, which are now kept in the Louvre, were scolded by critics, calling them "Gothic", and accusing the master himself of imitating the artists of the 15th century. Such reviews upset, seemed unfair. But soon all this was forgotten - Ingres goes, at last, to Italy. On the way, he stops in Florence, where Masaccio made a strong impression on him.

Jean Auguste Dominique Ingres: Philibert Riviere
Louvre Museum, Paris 1804-05,
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In Rome, he is absorbed in work, studying the monuments of antiquity, the works of the masters of the Renaissance and, especially, Raphael, adored by him. When his tenure at the French Academy in Rome ends, Ingres remains in Italy. He paints portraits of friends - the landscape painter Granet (1807, Aix-en-Provence, Musée Granet) and others, perfectly conveying the features of a new generation - people of the era of romanticism, who are distinguished by heroic elation, independence of spirit, inner burning, heightened emotionality. They seem to challenge the whole world, like the heroes of Byron.

Ingres treated beauty with reverence, perceiving it as a rare gift. Therefore, he was especially successful in portraits where the model herself was beautiful. This inspired and inspired him to create masterpieces, similar to the portrait of Madame Devose, beloved of the French envoy in Rome (1807, Chantilly, Musée Condé). The picture is dominated by the consonance of lines and shapes: a smooth outline of the shoulders, an ideal oval of the face, flexible arches of eyebrows. Through this harmony, an inner tension appears, a feeling of a smoldering fire in the depths of the soul, which seemed to lurk in the mysterious gaze of dark eyes, in the contrast of the black velvet of the dress and the flaming tones of a magnificent shawl. The sketches for the portrait reveal how long and painful the artist's path to perfection was, how many times the composition, posture, treatment of the face, hands were altered so that the lines and rhythms began, in Ingres's words, to “sing”. (One day, many years later, an elderly, modestly dressed woman came to the artist, offering to buy a painting from her. Looking at her, the shocked master recognized Madame Devos who had come.)

Jean Auguste Dominique Ingres: Countess d'Aussonville, 1845
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Frick Collection, New York

While working on the portrait, the artist fell under the spell of the model, and it was not for nothing that Thiers, seeing the portrait of Countess d'Aussonville (1845, New York, Frick Collection), told her: “One must be in love with you to paint such a portrait.

Jean Auguste Dominique Ingres: Grand Odalisque, 1814
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Louvre, Paris

A contemporary of revolutions who watched the collapse of great destinies and states, social and aesthetic systems, the artist believed that art should serve only eternal values. “I am the keeper of eternal doctrines, not an innovator,” said the master.

Jean Auguste Dominique Ingres: Turkish Bath, 1862,
108 cm
Louvre, Paris

The beautiful forms of the human body are a constant source of inspiration for the artist. In paintings with a nude model, the talent and creative temperament of the master is manifested in full force. A hymn to female beauty is perceived by the captivating classical clarity of forms and lines "The Big Bather" (Bather of Walpinson) (1808); The Big Odalisque (1814), full of elegant grace and regality; breathing languid bliss and sensuality "Turkish Bath" (1863; all - Paris, Louvre). The artist translates the soft and delicate volumes of the body into the language of melodic lines, marvelous contours into the language of painting, creating perfect works of art.

However, Ingres himself considered the work on portraits and the nude model a secondary matter, seeing his vocation, his duty in creating significant monumental paintings. The master spent a lot of time and energy on preparatory drawings and sketches for such canvases, and this was the most valuable thing in them. When he brought the preparatory sketches into a single whole, something important, some main nerve disappeared. The huge canvases turned out to be cold and touched the viewer little.

1824. Cathedral of Our Lady, Montauban

In the Salon of 1824, the artist showed the "Vow of Louis XIII" (Montauban, Cathedral) - the king is presented kneeling before the Madonna and Child. The image of the Madonna was written under the influence of Raphael, but she lacks warmth and humanity. "In my opinion," wrote Stendhal, "this is a very dry work." Official circles received the picture with enthusiasm. Ingres was elected a member of the Academy of Arts and received from the hands of Charles X the Order of the Legion of Honor. In the same Salon, Delacroix's Massacre on Chios was exhibited, written on a contemporary burning topic (the massacre of the Turks against the Greeks on the island of Chios). Since that time, the names of Ingres, who are proclaimed the head of classicism and the guardian of traditions, and the leader of romanticism Delacroix are perceived as a kind of antithesis.

Jean Auguste Dominique Ingres: The Apotheosis of Homer, 1827
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Louvre, Paris

They will collide again in the Salon of 1827: Ingres exhibited The Apotheosis of Homer, intended for the plafond in the Louvre, Delacroix - The Death of Sardanapalus. Subsequently, Ingres will hold honorary posts at the Academy - vice-president, president, and when Delacroix is ​​finally elected to the Academy (his candidacy was rejected seven times), Ingres said: "They let the wolf into the sheepfold."

Philibert Riviere 1804-05,
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Louvre, Paris

Although Ingres will continue to work on huge canvases on historical and religious subjects, and he will be reluctant to accept commissions for portraits, it is the latter who will glorify his name in history. Over the years, the artist's eye becomes sharper, his understanding of the human character is deeper, his skill is more perfect. His brush belongs to one of the masterpieces of the portrait genre in European art of the XIX century "Portrait of Louis Francois Bertin" (1832, Paris, Louvre) - the founder of the influential newspaper Journal de Debat. How much power is there in this powerful "lion's" head, with a gray mane, in a fine-looking face, how much confidence in his omnipotence in the pose, in the gesture of hands with strong, tenacious fingers - one of the critics indignantly called them "spider". The king of the press was called the “ministerial doer”, His Majesty Bertin I. This is how Ingres saw him - an indestructible lump, exuding energy and will. “My chair is worth a throne,” the publisher argued. The artist is far from the idea of ​​denouncing the model, he is objective, the visionary gift helps him to create a generalized image of a new class of the mighty of this world.

Madame Muatessier, 1856
National Gallery, London

But deep down, the master preferred to paint beautiful women, not business men. He created a gallery of portraits that embodied the ideal image of a woman of the first half of the 19th century, whose upbringing system included a culture of communication, the ability to move, dress in accordance with place, time and natural data. The woman herself turned into a work of art ("Portrait of Ines Muatessier", 1851)

Madame Moatessier, 1851.
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National Gallery of Art, Washington

Not all models were beautiful, but Ingres was able to find in each a special harmony inherent only to her. The artist's admiration also inspired the model - a woman who likes it becomes more beautiful. The master does not embellish, but, as it were, awakens the ideal image that is dormant in a person and opens up to a painter who is in love with beauty. The artist remained an admirer of beauty until the end of his days - on a cold winter evening, he accompanied his guest to the carriage with his bare head, caught a cold and never got up - he was 87 years old.

Source, 1856
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Orsay Museum, Paris

The perfection of Ingres' works, the magic and magic of his line influenced many artists not only of the 19th, but also of the 20th century, among them - Degas, Picasso and others.

Jean Auguste Dominique Ingres 1780-1867. French artist, one of the brightest representatives of neoclassicism in painting.

Ingres was born in the southern French city of Montabane, the son of a talented sculptor and painter. As a child, he attended classes at the Toulouse Academy of Painting and at the same time studied violin, but the artist's musicality was much more fully manifested later in the melodic and flexible lines of his paintings and drawings. In 1796, Ingres entered the workshop of David in Paris, after graduation he was awarded the Rome Prize for the painting "The Ambassadors of Agamemnon at Achilles" and in 1806 he left for Italy, where he lived for 18 years (first in Rome, then in Florence), earning his life with graphic and picturesque portraits. Subsequently, already a renowned artist, he returned to Italy again as director of the French Academy in Rome (1834-1841).

Ingres entered the art of the 19th century primarily as the "heir" of David, the successor of the classical traditions of the end of the previous century. However, the cold and strict classicism of the teacher in the work of the student turns into a sophisticated and original style, freely fusing the classical, romantic and realistic trends of the beginning of the century. The depth and originality of Ingres' art manifested itself already in the early period of his work. At this time, he creates wonderful portraits and compositions with nude, as well as a series of paintings on mythological and historical themes ("Oedipus and the Sphinx", "Zeus and Thetis", "The Dream of Ossiana", "Paolo and Francesca", "Roger and Angelica "," The Dauphin's Entry into Paris ", etc.), in which one of the first masters of the 19th century went beyond the boundaries of traditional classical subjects and the very style of classical painting.

The images of Ingres are deeply poetic and for all their classicism are often more "strange" and mysterious than the images of his romantic antipodes Delacroix and Gericault. Together with his works, the painting of modern times for the first time includes the open and pure color of Gothic and Persian miniatures, flatness and deformation of form, subject not only to the laws of anatomy and classical norms, but also to the emotional impulse of the artist. Striving for rhythmic expressiveness and purely plastic expression, Ingres sometimes boldly violated the anatomical proportions - and it is not surprising that his images subsequently inspired such "non-canonical" masters as Odilon Redon and Pablo Picasso. However, starting in the 1820s, academic notes began to sound in Ingres's thematic works under the influence of Raphael's painting. In such works as "The Vow of Louis XIII", "The Apotheosis of Homer", "Saint Symphorion Going to Execution" or "Madonna of the Sacrament", the free creative impulse of the master and the originality of his vision are weakened and extinguished, obeying the requirements of academic dogma.

Ingres's highest achievements were associated not with these cold canvases, but with the "plotless" depiction of nude. Here he was not constrained by official requirements, did not try to achieve the monumental greatness of Raphael and did not imitate his Madonnas. In the famous "bathers" and "odalisques" that Ingres created throughout his creative life ("Bathing Woman", "Bather Valpenson", "Little Bather", "Big Odalisque", "Odalisque with a Slave", "Source", "Turkish bath"), with particular force manifested his inherent understanding of art, the brightness of his vision, truthfulness in relation to nature and the ability to translate it into images of perfect beauty. Unlike his antagonist Delacroix, who was looking for beauty in constant movement, in a fit and tragic confrontation of passions, Ingres embodied it in harmonious, stable, sculpturally clear, large-scale and at the same time filigree images. At the same time, it was far from being one-sided. His naked, chastely strict and sensually full-blooded, intimate and exotic, mysterious and classically clear in form - and at the same time surrounded by no less beautiful things - precious utensils, patterned colored fabrics, etc. The artist's painting manner is characterized by dense modeling, smooth texture, recreating, as it were, the hard shell of objects, and the refined beauty of color. But although Ingres possessed the secret of the harmonic relations of color masses, the line remained the main means of his expression. In the images of the nude, she seems especially pure and musical, truly singing - conveying in her rhythms not the frozen features of the model, but the life itself and the movement of the form.

Another pole of the French master's art is portrait painting. Ingres appreciated her much less than the plot and in his youth often turned to her in search of earnings, and in the prime of his fame - yielding to the requests of noble customers. Nevertheless, as a portrait painter, he belongs to the most outstanding masters of world art. Among the most famous of his portraits are those of the Rivières family, the publisher L. Bertin, the landscape painter F. Grenet, Count Guriev, Madame Zenon, Madame Devosey, and Baroness James Rothschild. Ingres created ceremonial images of Napoleon I, in which there is something of Van Eyck's splendor, and sober, but full of inner strength, images of bourgeois figures of the July monarchy, such as the famous Louis Bertin, but all his works are marked with the stamp of classical statuary grandeur. The illusionistic plausibility characteristic of the 19th century in the depiction of the model is combined with the incomparable sophistication of aesthetic interpretation, with the brightness of details, the sophistication of linear rhythms and the boldness of color combinations. Especially decorative are the female portraits of the master, who later admired Auguste Renoir for their brilliance.

A special area of ​​Ingres' art is his graphic portrait, in which he inherited the best traditions of the French pencil portrait of the 16th century. Here, the artist's ability to convey by means of pure graphics the feeling of the inner life of the model and all the plastic and textured variety of the surrounding reality is striking. Ingres' drawings are characterized by calligraphic precision, elegance of detail and bold opposition of the detailed head of the model to the generalized outline of her figure. His images capture the concrete and at the same time, as it were, purified, timeless and harmonious existence of the world. They seem spontaneous and ideal, engraved solid and musically light, devoid of the weight of matter. It was in the pencil portrait that Ingres's highest gift was fully manifested - his almost magical mastery of the line, which inspired Degas, Seurat and Renoir in the 19th century, and in the 20th century found in the work of Picasso and Matisse.

Princess de Broglie. 1851

Madame Muatessieu 1856

Countess Louise de Ossonsville 1845

Madame Paula Saygisbert 1851

Baroness Rothschild. 1848

Napoleon Bonoparte - First Consul. 1804

Caroline Murat. 1814

(Caroline Murat, nee Bonoparte, sister of Napoleon Bonoparte)

Amadeus de Pastore 1826 Madame Duvasse 1807

Madame Gonce-Largue 1845 Charles Marcotte 1810

Madame Jacques-Louis LeBlanc 1823 Madame Marcotte 1826

Madame Reset Paul Lemoyne

Dominique Ingres self-portrait. 1804

Raphael and Fornarina 1814

Masters of historical painting Lyakhova Kristina Alexandrovna

Jean Auguste Dominique Ingres (1780-1867)

Jean Auguste Dominique Ingres

Ingres's popularity grew with each of his new paintings. The artist was greatly appreciated and often commissioned portraits for him. Throughout his life, he strove to create canvases on historical subjects and was distracted by portraits only when necessary, trying to finish them as soon as possible and again move on to the topic that interested him. However, it was the portraits, thanks to his excellent knowledge of nature, that became masterpieces and brought the artist worldwide fame.

French artist Jean Auguste Dominique Ingres was born in Montauban, in Gascony. His father, Joseph Ingres, was a miniaturist and gave him his first drawing lessons. In addition, Jean Auguste's father was a comprehensively educated person and sought to teach his son everything that he knew and could himself. In addition to drawing lessons, he gave his son a basic understanding of sculpture (since he was not only an artist, but also a sculptor), and also taught him to play the violin. In 1791, Jean Auguste, who was only eleven years old, entered the Royal Academy, which was located in Toulouse. Here he continued to improve what he had already learned in his own home: his painting teacher was J. Roque, sculpture was taught by J.-P. Vigan.

Having decided to become an artist, Ingres did not abandon his music studies. He took violin lessons and even soloed in a local orchestra to earn some extra money. Subsequently, he nevertheless chose drawing from the two arts, but music lessons taught him to better perceive rhythm. Auguste even told his students: "If I could make you all musicians, you would win as painters."

After graduating from the Royal Academy, Ingres went to Paris in 1791 and entered the workshop of David. He lived in the capital for twelve years, of which four years he studied at the School of Fine Arts and took lessons from David. Over the years, the master has managed to perfectly study the principles of composition. The studies of the aspiring artist have survived, which are currently located in Paris, in the Montablane Museum and at the School of Fine Arts.

In addition, David, himself for a long time fond of ancient art, tried to instill in his students an enthusiastic attitude towards the human figure. Under his leadership, Ingres achieved great skill in depicting a person.

Not satisfied with the lessons of David, Ingres independently studied the works of Italian and Flemish artists; spent a lot of time in the library, reading medieval treatises. From the Middle Ages he turned to statues of antiquity; carefully looking at his sketches from the statues, he again returned to the Middle Ages - prints by Dürer and Holbein. In his spare time, Ingres walked around Paris, making sketches and sketches.

J. O.D. Ingres. "Napoleon on the Throne", 1806, Army Museum, Paris

Ingres, like David in his time, in 1801 took part in the competition for the Rome Prize, presenting the historical and mythological painting "The Ambassadors of Agamemnon" (School of Fine Arts, Paris), and won first place. Now he could go to Rome and study the artistic, sculptural and architectural masterpieces of the famous masters of the Renaissance, but due to political complications Ingres was forced to postpone the trip for several years.

Remaining in Paris, the artist continued to work. He executed a whole series of portraits, including Self-portrait (1804, Musée Condé, Chantilly), a series of portraits commissioned by the Rivières family (1805, Louvre, Paris), and the historical canvas Napoleon on the Throne (1806, Army Museum, Paris).

The artist usually performed generational portraits. The model was usually in the foreground, filling most of the space. Ingres depicted the face, figure, clothes in such detail and accurately that it seemed as if the model was alive and was about to move, speak, come off the canvas.

In 1806, Ingres made his debut with these canvases at the Salon. The work attracted close attention, but the reaction of the audience, and especially the critics, was negative, or at least surprised. Shortly thereafter, newspapers published articles in which they wrote that the artist was making unsuccessful attempts "to return art four centuries ago, to the masters of the 15th century." Indeed, these works were not at all like paintings by artists of the 18th century or portraits of David, and yet they turned out to be very successful. Today, many call them the best works of Ingres. Although in reality it is difficult to choose the best painting - all his works characterize him as a talented master of composition and nature.

J. O.D. Ingres. "The Vow of Louis XIII", 1824, Cathedral, Montauban

Only in 1806 Ingres was able to go to Italy. He came to Rome and lived there for fourteen years. The artist continued to regularly receive commissions for portraits (portrait of Madame Devose, 1807, Museum Condé, Chantilly; portrait of Madame Chauvin, 1814 and portrait of the painter Thévenin, director of the French Academy in Rome, 1816, both in the Museum, Bayonne).

However, Ingres did not come to Italy to improve in the portrait genre. He devoted a lot of time to the study of Italian art of antiquity and painting of the Renaissance.

The first paintings, which the painter sent to Paris, were written on mythological subjects (Oedipus and the Sphinx, 1808, Louvre, Paris; Zeus and Thetis, 1811, Museum, Aix). However, French critics, seeing these works, announced the artist's departure from ancient art, despite the fact that one of the paintings depicted a scene with the participation of ancient gods. The master's works were increasingly called Gothic, and he himself was considered too enthusiastic about nature.

However, it was Ingres's fascination with nature since the time when he studied at David's workshop that helped him create such magnificent masterpieces of world painting as The Bather (1808, Louvre, Paris) and The Big Odalisque (1814, Louvre, Paris).

In Italy, Ingres met with the Russian envoy, Count Nikolai Dmitrievich Guriev, and painted his generational portrait. The artist finished his work in 1821. Today this portrait is kept in the Hermitage in St. Petersburg.

It was at this time that Ingres, apparently, became interested in the historical genre. Moreover, despite his love for Italy, he said that the history of his native country, France, "is much more interesting for our contemporaries, because for them Achilles and Agamemnon, no matter how beautiful they are, are less close to their hearts than Saint Louis ...".

The artist created several canvases on literary and historical subjects: "The Dream of Ossian" (1813, Museum, Montauban); Paolo and Francesca (1814, Museum of Condé, Chantilly); Don Pedro kissing the sword of Henry IV (1820, private collection, Oslo). These works are closest to romanticism, despite the fact that later Ingres spoke negatively about this trend and created canvases in the classicist style.

J. O.D. Ingres. "The Apotheosis of Napoleon I", 1853, Museum Carnavale, Paris

In 1820 Ingres moved to Florence, where he spent four years. There he visited cathedrals and looked at frescoes, especially admiring the work of Masaccio. It was probably then that the artist came up with the idea to renew French painting, becoming the second Raphael.

In 1824 Ingres returned to Paris, where he lived for ten years. Among other works, he brought from Italy the painting "The Vow of Louis XIII" (Cathedral, Montauban) and exhibited it at the Salon. This painting brought the artist great success: he received official universal recognition, many new orders, was appointed a member of the Academy and was awarded the Order of the Legion of Honor.

Ingres strove to create monumental works on historical subjects. However, his two major works - the ceiling "The Apotheosis of Homer" (1827, Louvre, Paris) and "The Martyrdom of the Symphorion" (1834, Cathedral, Autun) - were not among his best canvases. Especially a lot of controversy arose over the first work - some argued that the plafond repeats Raphael's "Parnassus", others believed that Ingres imitates the work of Perugino.

Increasingly, the artist began to receive orders for portraits. He painted a portrait of Mademoiselle Lorimier (1828, Pushkin Museum, Moscow), a portrait of the founder of the Journal de Debes, Bertin the Elder (1832, Louvre, Paris), and others.

In 1834, the artist was appointed director of the French Academy in Rome. He moved to Italy and lived there for seven years.

In 1841 Ingres returned to Paris and never went anywhere else until the end of his life. In the early 1940s, the Duke de Luigne commissioned a decorative panel from the artist for his castle in Dampierre. Ingres worked on its implementation for four years, from 1843 to 1847. The customer was pleased with the work and even arranged a banquet in Ingres's honor.

Orders were received regularly, but Ingres continued to devote most of his time to the creation of historical compositions. He painted Jeanne d'Arc at the coronation of Charles VII (1845, Louvre, Paris) and The Apotheosis of Napoleon I (1853, Carnavale Museum, Paris). However, these works differed from portraits in unnatural, theatrical, implausible compositions, despite the fact that they were executed with great skill.

Among the many portraits created during this period, mention should be made of The Countess of Ossonville (1845–1852, Museum, Montauban) and Madame Moatessier (standing - 1851, National Gallery, Washington, seated - 1856, National Gallery, London).

Once, seeing the model off to the carriage after another session, the artist caught a cold, fell ill, took to bed and never got up. Jean Auguste Dominique Ingres died in Paris at the eighty-seventh year of life.

He was a talented draftsman, portraitist, creator of paintings on mythological and historical subjects. His work influenced the formation of the artistic manner of such famous masters of painting as Degas and Picasso.

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