“Above the hoop sat ... a beautiful, tall girl with carefully smoothed, shiny hair the color of a raven wing ... Her rare beauty was marked by strength and grace ... Thick eyebrows of the correct pattern sharply set off the whiteness of a clean forehead ... a slight blush, languid tenderness of the lips, perfection of the oval of the face.
“Beautiful black eyes with an almond-shaped slit ... shadowed with long eyelashes, shining with a wet sheen. Life and youth boasted of their treasures, as if embodied in this wayward face and in this camp, so slender, despite the belt tied in the fashion of the time under the very chest.
This is how Balzac describes his heroines, who lived in France at the beginning of the 19th century, contemporaries of Natasha Rostova. And artpainting gives us an amazing opportunity to see them with our own eyes.
Look at the portrait of fifteen-year-old Mademoiselle Riviere - isn't it true, it seems that it was she who served as the prototype for the writer? We know that this is not so, but the very closeness of the images created by the writer and the artist is not accidental. She says that both scoopedinspiration from one source - the life of his era. The author of the pictorial portrait, an older contemporary of Balzac, is the famous French artist Jean Auguste Dominique Ingres.
Ingres lived a long life, and it falls on the most turbulent, most disturbing years of French history. Revolution of 1789-1794; the triumph and collapse of the empire of Napoleon Bonaparte, whom the artist painted more than once; revolution of 1830 - Ingres, along with Delacroix, guarded the Louvre; revolution of 1848, reactionary coup of 1851, Second Empire. Among the contemporaries of Ingres are such artists as David, Delacroix, Courbet, Manet; among the writers - Stendhal, Balzac, Hugo, Flaubert, Zola.
Ingres is a Gascon. He was born on August 29, 1780 in Montauban, in the family of an artist. His father was his first teacher. He also taught the boy to play the violin, and while studying at the Toulouse Academy of Arts, in the 90s, the future painter worked part-time by playing in a theater orchestra. Passion for music also had an impact on the creative formation of the master, making him especially receptive to feelings.rhythm , harmony .
No wonder the artist later said to his students:
"If I could make you all musicians, you would win as painters."
Further artisticeducation Ingres receives at school fine arts in Paris, in the studio of the famous David, in 1797-1801. In addition to professionalskill , David sought to instill in his students his ideas about the high appointment of the artist in the life of society, that the purpose of art is to educate moral and civic virtues, to strive for a beautiful ideal.In his vision of classicism, Ingres did not share either the revolutionary tendencies of his teacher David or the conservatism of Canova; his ideal was the opposite of the romantic ideal of Delacroix, which led to a stubborn and sharp controversy with the latter. Most of all, Ingres was interested in the form, which he did not reduce to a certain ideal, but was associated with the originality of the subject of the image.
Admiration for antiquity also determined his attitude to nature - the artist must learn to see and display only the beautiful, sublime features of nature. For studying ancient art the best students were sent for four years to the French Academy in Rome. In 1801, Ingres received the Grand Prize of Rome, but due to financial difficulties, the trip to Italy was postponed, and the artist remains to work in Paris.
In 1806-1820. studies and works in Rome, then moves to Florence, where he spends another four years.
Already his first works, exhibitingexhibited at the Salon of 1806 - "Portrait of Napoleon", "Self-portrait", portraits of the Riviere family - attracted the attention of critics. But the reviews were mostly bewildered and unfriendly: the young painter was accused of being "gothic", that he wants to "return art four centuries ago, to the masters of the 15th century." And this was said about the canvases that now make up the pride of the Louvre!
What so confused the critics in the works of Ingres? First of all, that they were not similar either to the work of the masters of the 18th century, or to the portraits of his teacher David. And it was not only unusual, "otherness"forms , but also in a new attitude to the human person, which is developing in post-revolutionary France and which was one of the first to feel andcaptured in art by a painter from Montauban. The Great Revolution highlighted the role and significance of man in a new way, and these ideas were akin to that “discovery of the world and man” that marked the Renaissance.
In the 19th century, a person is aware of his individual self-worth, but due to a number of social factors, this turns into a heightened sense of the split between the personal and the public, which as a result gives rise to individualism, isolation from the world, alien to the perception of the Renaissance. people onportraits XV-XVI centuries exist as part of humanity,characters Ingres are emphatically isolated... They seem to be fenced off from the rest of the world by an invisible barrier, it is difficult to imagine them among family and friends.
Portrait of Mademoiselle Riviere -one of the artist's most famous paintings. The figure of a girl in a white dress, like a monument, rises against the background of the landscape. Sculpture molding, clear linesilhouette highlight this impression. All means of artistic expression are aimed at revealing the significance of the model. Perhaps the artist does it intuitively, but he cannot do otherwise, he sees it this way, he feels it this way - he is the son of his era. Ingres sought to capture the beautiful appearance of a girl, to preserve in time such a fragile, such a short-lived gift as youth, beauty. Moreover, beauty for him is not only an aesthetic concept, but also a moral one, inextricably linked with ideas of goodness, humanity, and justice. We don’t know what this round-faced, black-browed girl really was (we only know that she died in the year the portrait was created), we don’t know if she had the significance and strength that the painter endowed her with, but we believe him. The image turned out to be in tune with the era - open the books of Balzac, Stendhal - Mademoiselle Riviere will naturally enter the world literary heroes that time.
Madame Riviere is an elegant society lady whose spiritual world is not particularly deep, and Ingres does not hide this. But how beautiful her portrait is, how perfect every line, every detail breathes here, how harmoniously the figure of a woman fits into an oval, the outlines of which seem to “rhyme” with soft rounded shapes. How much femininity and charm in her face, in the dark tonsils of her eyes, in the pattern of her lips! With what skill Ingres conveyedinvoice precious Kashmiri shawl, silky blue velvet, shading the warm freshness of the neck, the whiteness of the arms and shoulders. All lines are subject to a single musical rhythm, not a single detail violates the harmony of the whole. One scholar of art rightly remarked:
"Ingres, like King Midas, everything, what he saw and what his brush touched, he turned into the gold of true art.
Some “alienation” is also noted in the portrait of Madame Riviere: the very shape of the oval, with its completeness, emphasizes this feeling and, as it were, closes the boundaries of the individual world of the model.
A different emotional atmosphere reigns in Ingres' drawings. Here everything becomes more humane, simpler. People communicate with each other with an "open mind". This is how they appear in The Forestier Family of 1806. Trustingly smiling, the young bride of Ingres, Julie Forestier, looks at us, not yet knowing what awaits her ahead.annulment of engagement. Near her sits her mother with her brother, on the other side of the harpsichord is her father, Clotilde is visible in the doorway, a maid confided in the secrets of Mademoiselle, through whom the lovers sent notes and letters to each other. The drawing is fast, light, the line is sniper accurate and elegant. It seems that the pencil barely touches the surface of the sheet, giving the master's drawings a special quality - transparency and spirituality. Both volume and a sense of spatial depth are preserved. It is noteworthy that the artist usually works out in detail in the drawing only the head and some fragments of the costume - cuff, collar, but this doesXia is so artistic that the remaining, barely outlined details acquire convincing authenticity. With this brevity, the characters are perfectly conveyed, the very atmosphere of home comfort, the spiritual closeness of people. Drawing is the strongest and indisputable side of Ingres' talent. Here he does not subordinate his talent to theories, he draws like a birdsings, of course, simply, beautifully. In addition to portraits, magnificent images of nudes have survived, manysketches ,
sketches ,
sketches to the pictures.
In the same year, 1806, when the portrait of the Forestier family was made, Ingres went to Italy as a scholarship holder of the French Academy in Rome. Italian cities with theirglorified cultural monuments, palaces and museums made a great impression on the young artist. All day long, with an album in his hands, he looks, studies and does not get tired of admiring. Particularly attracted by its antiquity, the masters of the XV century and Raphael. The portrait of the artist Granet in 1807 bears a reflection of that enthusiasm, that excited state of mind in which the French painter was in Italy.
Granet is depicted against the background of the Romanlandscape : it seems as if he suddenly turned towards the viewcalf, interrupting the walk. His soulful face is agitated, his eyes sparkle with excitement, wildly jumped up as if from the quick movement of a strand of hair. Sublime elation of the image, interest in the transitory state human soul, mood, emotions, and finally, the dynamics that permeate the portrait, all these are harbingers of a romantic worldview. In general, many, especially early, works of the master from Montauban - "Zeus and Thetis" of 1811, "The Dream of Ossian" of 1811, "Paolo and Francesca" of 1819 - reveal an undoubtedcloseness to romanticism, although later Ingres became a fierce opponent of this trend and is traditionally considered one of the leading representatives of classicism.
The portrait of the beautiful Devose belongs to the same time.(1807). combination of rareharmony of forms with a sense ofearly voltage, somehidden, as if smolderingdeep down the fire distinguishes this work. Many years later, when Ingres was already famous artist, an elderly, poorly dressed wife came to him one daySchina and offered to buy a painting from her. Glancing, the shocked Ingres recognized Madame Devose.
Working on portraits, the master sought to reveal in a person the most sublime and beautiful features of his appearance. Therefore, he succeeded best of all in those works where the model itself to a greater extent corresponded to the ideal of the artist, his ideas about beauty. These are the portraits of Zelya, the beautiful Marie Marcos, Madame Moitessier. However, Ingres' works capture not only images full of feminine charm and harmony, but also images of genuine Balzac power and deep social insight. Such is the portrait of the publisher Bertin the Elder (1832). What strength is in his "lion's" head, imperious look, how much energy, confidence in this middle-aged man, his posture, hand gesture, in short tenacious fingers! This is an image that embodies the triumph of personal initiative, intelligence, business acumen, a person who feels great in the “community of a chistogan”.
Another area, along with the portrait, in which Ingres' talent was revealed in full force, were works depicting the nude. Worshiping beauty and harmony, he creates a magnificent “Great Odalisque” (1814), full of femininity, perfect in form “Seated Bather” (1808).The works of Ingres, which embodied his understanding of the nude female nature, were widely known, such as the so-called. "Odalisque of Valpinson" (1808), "Venus Anadyomene" (1848). However, Ingres is prone to self-quoting, and the pose of the figure in "Venus Anadyomene" is repeated one to one in the paintings "Source" (1856) and "Turkish Baths" (1863). The last work is a kind of "retrospective" of the images he foundnude ; recognizable, in particular, is the figure of Valpinson's Odalisque in the foreground.
However, Ingres considered the creation of large compositions on historical and religious themes to be the main business of his life. It was in them that he sought to express hisaesthetic views and ideals, it was with them that he connected the hope for fame and recognition. The huge canvas "The Vow of Louis XIII", exhibited at the Salon of 1824, although it brought Ingres official recognition and an order, gives the impression of an internally cold, far-fetched composition. The idea underlying it was false: in terms of subject matter, this work corresponded to the views of the most reactionary circles of society that restored the Bourbons. 
They were not slow to attract such an outstanding talent to their side. Ingres performs a number of official orders, creatingno huge multi-figure compositions, gives these works years of long exhausting work, and the results are negligible - things turn out to be dry and inexpressive. Such is the "Apotheosis of Homer", "St. Symphorion","Handover of the keys to St. Peter".
He also painted large program canvases; however, with all the skill and perseverance invested in these works, their content was in a certain sense divorced from the problems and needs of the time, which gave them a certain eclecticism and coldness.
This was the tragedy of the artist, who every time he began to paint a new portrait, looked at him as an annoying hindrance, tearing him away from large paintings. But Ingres was wrong, believing that it was these paintings that would bring him immortality. He entered the history of art primarily as a magnificent portrait painter and a wonderful master of drawing.
Ingres entered the history of French painting primarily as a magnificent portrait painter. Among the many portraits he painted, it is especially worth noting the portraits of the supplier of the imperial army, Philibert Riviera, his wife and daughter Caroline, of which the last one is best known (all three - 1805); portraits of Napoleon - the first consul (1803-04) and the emperor (1806); Louis-François Bertin (senior), director of the Journal des débats (1832).
In 1824 he returned to Paris and opened a painting school.
In 1835 he returned to Rome again as director of the French Academy.
From 1841 until the end of his life he lived in Paris.
Jean Auguste Dominique Ingres died on January 14, 1867 and was buried in the Pere Lachaise cemetery in Paris.
Ingres was the first of the artists to reduce the problem of art to the originality of artistic vision. That is why, despite the classical orientation, his painting attracted the close interest of the Impressionists (Degas, Renoir), Cezanne, Post-Impressionists (especially Seurat), Picasso.
V. STARODUBOVA
ENGRE ABOUT DRAWING
Picture - this is the highest honesty of art.
Drawing is not just about making outlines; A drawing is not just lines. Drawing is also expressiveness, inner form, plan, modeling...
You have to draw incessantly, draw with your eyes when you can't draw with a pencil. Until you coordinate accurate observation with practice, you will not create anything really good.
... In nature, everything is harmonious: a little more, a little less - this already violates the scale and gives a false note. It is necessary to achieve the ability to sing correctly with a pencil or brush and as well as with a voice. The precision of forms is the same as the precision of sounds.
When studying nature, pay attention first of all to the whole. Ask him, and only him. Details are arrogant small things that should be reasoned with ...
Pay attention to the relationship of quantities in the model; they have all the character. Let them amaze you right away, and you immediately capture them ... The figure that you want to convey should be completely in your mind before your eyes, and its execution should be nothing more than the embodiment of the image that your idea has already mastered.
When sketching a figure, try first of all to define and well characterize its movement. I will constantly repeat to you: movement is life.
The simpler the lines and shapes, the more beauty and strength. Every time you dismember forms, you weaken them. This always leads to fragmentation, in whatever it was.
Why don't they create big characters? Because instead of one large form, three small ones are made.
When building a figure, do not create it in parts. Coordinate everything at the same time and, as they say, draw an ensemble.
The completeness of the form will be revealed at the end of the work. Some are content in drawing with feeling; once the feeling is shown - they have enough. Here is Raphael and Leonardo da Vinci, proving that feeling and precision can be combined.
The great artists Raphael and Michelangelo, finishing the work, insisted on the line. With a thin brush, they once again confirmed it, thus enlivening the outline. They gave the drawing nerves and passion.
Sleight of hand is acquired by experience; but the veracity of feeling and understanding is what must manifest itself in the first place and, to a certain extent, can replace everything else.
Always have an album with you and mark at least four strokes of a pencil the items that interest you, if there is no time to mark them in full. But if you have free time to make a more accurate sketch, take the model with love, examine it and reproduce it in all aspects so that it is absorbed into your consciousness and that it grows into it as your own.
Outer contours should never be concave. On the contrary, they should protrude, round, like a wicker willow basket.
The length of the torso in men, both tall and short, differs little. So, a torso that is large compared to the length of the legs indicates a small stature; a short torso indicates a person's tall stature.
The line of the head never passes directly into the line of the neck; this circuit is always interrupted.
When working on the image of the head, the main concern of the master is to make the eyes speak, even with their most general designation.
Jean Auguste Dominique Ingres
“The simpler the lines and shapes,” Ingres said, “the more beauty and strength. Every time you dissect forms, you weaken them... When studying nature, pay attention first of all to the whole. Ask him and only him. Details are pompous little things that need to be reasoned with.”
Jean Auguste Dominique Ingres was born on August 29, 1780 in Montabana. His father, miniaturist and sculptor Joseph Ingres, became his son's first teacher. At the age of eleven, Dominic entered the Royal Academy of Toulouse, where he studied until 1797. His painting teacher was J. Roca.
At the end of the academy, he becomes a student of J.-L. David in Paris. Serious, obsessed with work, Ingres keeps to himself, not taking part in student undertakings and meetings. His drawings and field studies speak of a strong hand and a precise eye. Since 1799, Ingres has been studying at the School of Fine Arts, where in 1801 Dominic received the Grand Prize of Rome for the painting "Achilles receives the envoys of Agamemnon."
It was no coincidence that Achilles evoked the greatest praise from the famous English sculptor and draftsman Flaxman, who called this painting the most significant event in French art at that time. Flaxman exaggerated his assessment, but he noticed in Ingres's painting a subtle and lively, slightly campy elegance inherent in English classicism. early XIX century, which did not fit into the template rules of the academic school.
Dominic received the right to study in Rome, but due to lack of government funding, he remains in France. At this time, Ingres makes a living with portraits, among which should be noted: "Self-portrait" (1804), three portraits of the River family (1805), a portrait of a friend Gilibert (1805), "Emperor Napoleon on the Throne" (1806).
Drawing dominates here over color; everything is built in a clean and absolutely true line. Paints only highlight the drawing and, with their subtle and soft combinations, only set off the sharpness and completeness of the linear contour.
The works of Ingres, exhibited at the Salon of 1806, were noticed, critics reproached the author for imitating Jan van Eyck in "Gothic". He was also accused of violating academic rules, which were considered unshakable. Indeed, Ingres conveyed the exquisite simplicity of the costume in every detail, calmly showed, without any idealization, the individual features of the faces, the naturalness and simplicity of the poses.
In 1806, Ingres finally travels to Italy. Until 1820 he lives in Rome, and then until 1824 in Florence. The artist worked hard and hard in Italy, sending paintings from time to time to Paris for exhibition at the Salon. He painted a lot with antique statues and from old pictures Italian masters. He wanted to upgrade classical art and attached the greatest importance to tradition, the lessons of the great artists of the past, primarily Raphael.
During the years of his stay in Italy, Ingres painted a number of beautiful portraits - Madame Devose (1807), Marcotte, who later became his closest friend (1810), the architect Dedeban (1810), Madame de Sennon (1814), a charming, delicate and delicate portrait of Jeanne Gonin ( 1821).
T. Sedova says:
“In 1807, Charles Aquier, the French envoy to the papal court in Rome, commissioned this portrait from a young French artist who had recently arrived in the “eternal city”. And after forty years, a poorly dressed woman, hardly recognized by him, came to the Parisian studio of the same artist who became famous. In desperation, she confessed her extreme need and asked to help her in the sale of both expensive and memorable portrait. What a human drama, how many ruined hopes, trampled feelings, and maybe other sufferings unknown to us are hidden behind these two meager facts, it is difficult to judge ...
The portrait has firmly become one of the masterpieces of world portraiture. As we can see, a very young, beautiful and happy woman posed for the artist.
The color scheme of the portrait is made up of large planes of black and brown contrasting with red and golden yellow. The last tones are so intense that they make even the cold black color sound in an unusual tone for it.
The bright beauty of the model, her restrained sparkling temperament make it possible to assume that we have a true Italian woman in front of us. With all available means, the artist emphasizes the alluring femininity of Madame Devose.
Ingres's drawing is especially refined in his paintings with a naked human body: "Oedipus and the Sphinx" (1808), "Bather" (1807), "Great Odalisque" (1814), "Ruggiero Frees Angelica" (1819). Here his line becomes fluid and flexible; a smooth, calm contour runs around the clear silhouette of a figure, gently modeled with meanest, thinnest shadows.
“But often this easy modeling of volume seems superfluous to Ingres,” writes A.D. Chegodaev. – Many of his masterpieces of the Italian period – simple drawings lead pencil, where there are almost no shadows and the expressiveness of a clean line reaches the utmost skill. These are his portraits of Mrs. Detouches, the famous violinist Paganini, the Stamati family, Leblanc. But this exquisite, cold purity of the drawing does not interfere with the accurate and calm characterization of the depicted people. In Leblanc's portrait, for example, a smart appearance and a lively, careless pose are perfectly captured, conveyed in just a few strokes of a pencil. But historical paintings these years turned out to be far-fetched, cold and boring for Ingres, and sometimes full of mannered theatricality.
Ingres revealed all the best aspects of his art already in the first period of creativity, until 1824. And his best creations will remain simple portraits or individual nude figures, where he most fully embodies his serene, calm art, pleasing with a clear musical rhythm that permeates nature and man.
However, Ingres considered the creation of large compositions on historical and religious themes to be the main business of his life. It was in them that he sought to express his aesthetic views and ideals, it was with them that he connected the hope of fame and recognition. The huge canvas The Vow of Louis XIII, exhibited at the Salon of 1824, gives the impression of an internally cold, far-fetched composition.
“The idea underlying it was false: in terms of subject matter, this work corresponded to the views of the most reactionary circles of society that restored the Bourbons,” notes V.V. Starodubova. “They weren’t slow to bring such extraordinary talent to their side. Ingres performs a number of official orders, creates huge multi-figure compositions, gives these works years of long exhausting work, and the results are negligible - things turn out to be dry and inexpressive. Such is the "Apotheosis of Homer", "St. Symphorion". This was the tragedy of the artist, who every time he began to paint a new portrait, looked at him as an annoying hindrance, tearing him away from large paintings.
But Ingres was wrong, believing that it was these paintings that would bring him immortality ... "
Ingres receives more and more honors: in 1825 he was elected a member of the French Institute, in 1829 he was appointed professor at the School of Fine Arts (in 1853 he became its director). But if before 1824 supporters of the decrepit academic art attacked Ingres, now he is sharply criticized by young romantic artists. Their criticism is fair, but it upsets and revolts Ingres. He reacted especially painfully to the hostile assessment that was met with “The Torment of St. Symphoriana" (1834). He even decided to leave Paris and again went to Italy for several years, where from 1835 to 1841 he was director of the French Academy in Rome at the Villa Medici.
Ingres did not seem to notice how he contradicted himself when he created, simultaneously with his motionless, dispassionate academic canvases, such masterpieces of the sharpest observation or genuine poetic elegance as famous portrait"Portrait of Burtin" (1832). “In the fine appearance of the gray-haired gentleman, in his smart strong-willed face, powerful figure, in the imperious gesture of the hands, in the tenacious fingers, one feels energy, invincible pressure, business acumen, turning the head of the Deba magazine into a symbol of a new era” (V.V. Starodubova ).
On his return to Paris, Ingres was commissioned in 1843 by the Duke de Ligne to paint a painting at the Château de Dampierre. Here the artist worked until 1847, but the work remained unfinished, because the nudes in the interpretation of Ingres, according to the concepts of the then society, offended the sense of decency. Meanwhile, nude figures have always occupied a very important place in the work of Ingres, who achieved perfection in their depiction.
In later years, it was the image of the naked body that glorified him best work- the famous "Source" (1856) and "Turkish bath" (1859-1869).
At the same time, he confirms his fame as one of the great masters of the portrait, creating "Countess Haussonville" (1845), "Baroness Rothschild" (1848), "Madame Gonz" (1845-1852), "Madame Moitessier" (1851), " Madame Moitessier" (1856). His self-portrait of 1858 is stern, straightforward and sharp, full of will and energy. Although Ingres was burdened by the fact that he had to paint a lot of custom-made portraits, spending his skill on carefully writing out spectacular dresses.
Although, like no one else, he knows how to turn a household detail into a magnificent still life, perfectly conveys the materiality, texture, picturesque beauty of a wide variety of fabrics and materials. In his portraits, along with a convincing individuality, characterization emerges; his portraits are a portrait of an era.
Ingres died on January 14, 1867 in Paris. In the cold winter, the artist went out with his head uncovered to see the woman who posed for him to the carriage, fell seriously ill - and soon he died.
“Study the beautiful…on your knees. Art should teach us only beauty,” said Ingres. The reverent worship of beauty, a truly magical gift of line, which he was endowed with, gave the master's works a special majestic calmness, 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 perseverance in achieving goals and a stormy temperament. According to contemporaries, he loved and knew how to speak, until old age he retained the swiftness of his movements and his quick temper. His father, an artist and musician, became Dominique's first mentor both in painting and in music. Ingres played the violin beautifully, and in his youth worked part-time as a violinist. Haydn, Mozart, Gluck are his favorite composers. Musical talent is guessed in the melodiousness of the rhythms and lines of his paintings. Later, he would tell his students: "We must achieve the ability to sing correctly with a pencil and a brush."
From the age of eleven to seventeen, Dominique studied at the Academy of Fine Arts of Toulouse. The first prize in the competition of 1797 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 goes to Paris and becomes a student of the famous David. Concentrated and stern, he eschews noisy student gatherings, keeps to himself, 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 "Ambassadors of Agamemnon at Achilles" (1801, Paris, School of Fine Arts), giving the right to continue his studies in Rome. However, there is no money in the state and the trip is postponed.
Since 1802, Ingres began to exhibit at the Salon. He is ordered to "Portrait of Bonaparte - First Consul" (1804, Liege, Museum of Fine Arts), and the artist makes a sketch from nature during a short session, finishing the work without a model. This is followed by a new order: "Portrait of Napoleon on the Imperial Throne" (1806, Paris, Museum of the Army). If in the first portrait human features were still visible: a stern will, a decisive character, then in the second portrait it is not so much a man as his high rank is depicted. The thing is very cold, ceremonial, but not without a decorative effect.
According to the "Self-portrait" (1804, Chantilly, Conde Museum), we can judge what Ingres was like in these years. Before us is a young man with an expressive face, filled with inspiration and faith in the future. In this early work, one can feel the hand of a master: a strong composition, a clear drawing, confident modeling of forms, a sense of artistry and harmony of the whole.
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, contours are calligraphically accurate, the details of the Empire-style setting and costume are superbly written; through the external secularity, the features of the individuality of each appear. Particular attention is drawn to the portrait of the daughter (we know nothing about her, except that the girl died in the year the portrait was created). The image of the 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 features - narrow shoulders, a large head, a wide-cheeked face, a strange, impenetrable look of huge black eyes. The master seeks to reveal the special harmony lurking in the “irregularity” of her features. “Don't try to create a beautiful character,” Ingres said. “It has to be found 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 finally goes to Italy. On the way, he stops in Florence, where Masaccio made a strong impression on him.
In Rome, he is absorbed in work, studying the monuments of antiquity, the works of the masters of the Renaissance and, especially, Raphael, whom he idolizes. When the term of stay at the French Academy in Rome ends, Ingres remains in Italy. He paints portraits of friends - landscape painter Granet (1807, Aix-en-Provence, Granet Museum) and others, perfectly conveying the features of the new generation - people of the era of romanticism, who are distinguished by heroic elation, independence of spirit, inner burning, increased 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, portraits were especially successful for him, where the model herself was beautiful. This inspired and inspired him to create masterpieces, like the portrait of Madame Devose, beloved of the French envoy in Rome (1807, Chantilly, Condé Museum). The picture is dominated by consonance of lines and shapes: a smooth outline of the shoulders, a perfect oval of the face, flexible arches of the eyebrows. Internal tension emerges through this harmony, a feeling of a fire smoldering in the depths of the soul, which seems to be hiding in the mysterious look of dark eyes, in contrast to the black velvet of the dress and the flaming tones of the magnificent shawl. Sketches for the portrait reveal how long and painful the artist's path to perfection was, how many times the composition, pose, interpretation of the face, hands were redone, so that the lines and rhythms began, according to Ingres, to "sing". (One day, many years later, an elderly, modestly dressed woman came to the artist, offering to buy a painting from her. Glancing at her, the shocked master recognized Madame Devose in the visitor.)
While working on the portrait, the artist fell under the charm of the model, not without reason that Thiers, seeing the portrait of the Countess d’Ossonville (1845, New York, Frick Collection), told her: “You have to be in love with you to paint such a portrait.”
A contemporary of revolutions, who witnessed 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.
beautiful forms human body- a constant source of inspiration for the artist. In the paintings with a nude model, the talent and creative temperament of the master are manifested in full force. Anthem female beauty the “Big Bather” (Valpinson’s Bather) (1808) captivating with the classical clarity of forms and lines is perceived; full of elegant grace and regal "Great Odalisque" (1814); breathing languid bliss and sensuality "Turkish bath" (1863; all - Paris, Louvre). The artist translates the soft and tender 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 working on portraits and a nude model a secondary matter, seeing his vocation, his duty in creating significant monumental canvases. The master spent a lot of time and effort on preparatory drawings and sketches for such canvases, and this was the most valuable thing in them. When he brought the preparatory sketches together, something important, some main nerve disappeared. Huge canvases turned out cold and touched the viewer a little.
In the Salon of 1824, the artist showed the "Vow of Louis XIII" (Montauban, Cathedral) - the king is shown 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," Stendhal wrote, "this is a very dry work." Official circles accepted 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 modern burning topic (the massacre of the Turks against the Greeks on the island of Chios). Since that time, the names of Ingres, who is proclaimed the head of classicism and the keeper of traditions, and the leader of romanticism, Delacroix, are perceived as a kind of antithesis.
They will collide again in the Salon of 1827: Ingres exhibited The Apotheosis of Homer, intended for the ceiling in the Louvre, Delacroix - The Death of Sardanapalus. Subsequently, Ingres will hold honorary positions in 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."
Although Ingres will continue to work on huge canvases on historical and religious subjects, and orders for portraits are reluctant to accept, it is the latter that 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 XIX century "Portrait of Louis Francois Bertin" (1832, Paris, Louvre) - the founder of the influential newspaper Journal de deba. How much power in this powerful "lion's" head, with a gray mane, in a handsome face, how much confidence in one's omnipotence in a pose, in a gesture of hands with strong, tenacious fingers - one of the critics indignantly called them "spider". The king of the press was called the "maker of ministers", His Majesty Bertin I. This is how Ingres saw him - an indestructible block exuding energy and will. "My chair is worth the throne," the publisher claimed. The artist is far from the idea of denouncing the model, he is objective, a visionary gift helps him to create a generalized image of a new class the mighty of the world this.
But deep down, the master preferred to write beautiful women and not business men. He created a gallery of portraits that embodied perfect image women first half of XIX century, the education system of which included a culture of communication, the ability to move, dress in accordance with the place, time and natural data. The woman herself turned into a work of art ("Portrait of Ines Moitessier", 1851, London, National Gallery). Not all models were beautiful, but Ingres knew how to find in each a special harmony inherent only to her. The admiration of the artist also inspired the model - a woman who is liked becomes more beautiful. The master does not embellish, but, as it were, awakens the ideal image that is dormant in a person and opens to a painter who is in love with beauty. The artist remained a fan of beauty until the end of his days - cold winter evening he escorted the guest to the carriage with his head uncovered, caught a cold and did not get up again - he was 87 years old.
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.
Veronika Starodubova
Jean Auguste Dominique Ingresfrench artist Jean Auguste Dominique Ingreswas bornAugust 29, 1780in the south of France in the ancient city of Montauban.
Father - Joseph Ingres, engaged in painting, engraving, music. Moreover, according to the grateful son, who had already gained recognition by that time, if Ingres Sr. had the opportunities that he provided to his offspring, he would become the greatest artist modernity. One of the most vivid memories of Dominique Ingres about his own childhood is the red chalk, which he learned to draw under the guidance of his father. And on the shoulders of the mother, nee Anna Mule, lay down all the other worries about three children.
The father decided to try out all the options available and taught his son how to draw, sing and play the violin at the same time. It quickly became clear that a pencil and a brush obey the boy best of all. Although Dominique Ingres retained his love for music throughout his life, the expression "Ingres's violin" has become a household word. So talked about a little weakness big man. Ingres was friends with many musicians and composers, Liszt described his playing as "cute" - this hobby was clearly not his forte.Franz Liszt
From 11 to 16 years old, young Ingres studied the basics of painting at the School of Fine Arts in Toulouse. There, for the first time, his interest in antiquity also manifested itself. To the famous David, Ingres entered the Paris Academy of Fine Arts at the age of 17 and immediately became one of the strongest students. He was not distinguished by sociability, but he was distinguished by perseverance. On the course he was given the nickname "hermit". David noticed the industriousness and considerable talent of the young man, and nominated the student for the Great Rome Prize, the main reward of which is a four-year paid internship in Rome. On the second attempt, in 1801 Ingresfor the painting Ambassadors of Agamemnon to Achillesreceived this award. Alas, the treasury Napoleonic Wars overpaid, and the government could not afford such expenses. As compensation, the artist received a workshop for his use, in which he continued to work on copies of the great ones and won public recognition with his portraits.
From 1802, Ingres began to exhibit at the Salon. He is ordered to Portrait of Bonaparte - First Consul (1804), and the artist makes a sketch from nature during a short session, finishing the work without a model.This is followed by a new order: Portrait of Napoleon on the imperial throne.
"Napoleon on the imperial throne"Portrait of Madame Devaucay, 1807
Ingres treated beauty with reverence, perceiving it as a rare gift. The beautiful forms of the human body are a constant source of inspiration for the artist.
A hymn to female beauty is perceived by the captivating classical clarity of forms and lines "The Big Bather" (Valpinson's Bather); full of elegant grace and royalty Big odalisque.
"Walpinson's bather". 1808
There is a legend about how in 1837 Ingres' endurance and peace of mind during an outbreak of cholera saved his students. One of the students fell ill and died, the rest panicked, rushed to pack their things to run - as if at that time there were ways to escape from such a scourge. Ingres locked all the doors and forbade anyone to leave the walls of the Medici villa. For several weeks, students and teachers did not leave the building, studied hard, arranged musical performances in the evenings, and sometimes Ingres read aloud Plutarch ... So the epidemic bypassed the Academy.
"Virgil Reading the Aeneid"
"Happy is he who could know the causes of things and put under his feet all the fears, and the inexorable fate, and the sound of the waves of the greedy Acheront."
Virgil
"Paolo and Francesca"Ingres was ambitious, always dreamed of recognition and was very painful for criticism: after many years he could reproduce an abusive review addressed to himself and prick his opponent in response.
"Natural impressionability and boundless desire for fame haunt me", he himself admitted.
Subsequently, art historians agreed that Ingres as a portrait painter is one of the strongest sides of his talent. He himself considered portraits to be hack work, a handicraft way to earn money. Ingres took his works on ancient and historical subjects seriously.
"The Composer Cherubini with the Muse of Lyric Poetry". 1842
Talented student David, Ingres quickly departed from his principles. At the top of the personal Olympus Ingres, there was a place only for the main idol - Raphael. He was generally convinced that Raphael was the best thing that happened in the whole world of painting, and after him the history of art turned "somewhere in the wrong direction." Ingres saw his task in returning to Raphael and going from him in the right direction, continuing and developing his traditions. But Ingres could not stand Rubens, declaring that his painting to him "disgusting and hostile, like a ray of light, gloomy darkness".
"Portrait of Madame Moitessier". 1856
Speaking of Ingres, Delacroix is remembered. The confrontation of these titans - the confrontation of classicism and romanticism created tension in which French painting of those years developed. Antique motifs and plots, renaissance frescoes, worship of Raphael, the finest drawing, adherence to Ingres' classicism opposed the passion, sophisticated mastery of color and the romantic doctrine of Delacroix. The rivalry was balanced, perhaps, by their equally great talent.
Ingres was called the last stronghold classical school, but clearly underestimated. Because the Impressionists, who, among other things, this "stronghold" was called upon to resist, were admired by Ingres. His influence was recognized by the Fauvists led by Matisse, the Cubists led by Picasso. And all theythese academism was not revered. So Ingres is much more than a classical tradition.
Self portrait at the age of 79 by Jean Auguste Dominique Ingres
Also: Jean Auguste Dominique Ingres (1780 - 1867)
Original entry and comments on
Jean-Auguste-Dominique Ingres (1780 - 1867) - was born in Montaubin (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 studies in drawing and music. Ingres studied at a local school, but his education was interrupted by the French Revolution (lack of education will always interfere with Ingres in his subsequent activities).
In 1791 he moved to Toulouse, where he was enrolled at the Royal Academy of Arts, Sculpture and Architecture. There, his teachers were the sculptor Jean-Pierre Vigan, Jean Bryant, and the artist Joseph Rock, who was able to explain young artist essence of Raphael's work. He developed his musical talent under the guidance of the violinist Lejeune. From the age of 13 to 16 he was second violinist in the Toulouse Capitol Orchestra. The love of the violin will accompany him all his life.
In August 1797, Ingres traveled to Paris to take lessons from Jacques-Louis David (the leading painter during french revolution). From his teacher, Ingres takes over 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 delayed 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 did his work on the portrait of Napoleon, made 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. It happened on the eve of a big art exhibition at which he was supposed to present his paintings, so he left reluctantly. His works "Self-Portrait", "Portrait of Philibert Rivière", "Portrait of Mademoiselle Rivière" and "Napoleon on the Imperial Throne" made an ambiguous impression on the public. Critics were equally hostile to the works of this French painter, calling them archaic. Jean Auguste Dominique Ingres, on the other hand, strove for the ideal of classicism, wanted to do something extraordinary and one of a kind. In this he was helped by art objects that filled the Louvre, thanks to the military campaigns of Napoleon: he could study and compare ancient masterpieces and samples European painting. Ingres learned this reaction while already in Rome, and vowed never to participate in exhibitions again.
Do you want to feel confident and safe on the road? In this case, you should buy high quality tires from Asshina. Huge selection of tires here.
Ambassadors of Agamemnon in the tent at Achilles
Portrait of Bonaparte
Portrait of Mademoiselle Riviere
Portrait of Philibert Riviera
Portrait of Frederic Demarais
Napoleon I on the imperial throne
Portrait of Madame Aymon
While in Rome, Ingres, as the owner of a "stipend", was obliged to send his work to Paris in order to show progress in his skills: in 1808, the paintings "Oedipus and the Sphinx" and "Bather" demonstrated the artist's skill in the nude. In 1807, he began work on the painting "Venus Andiomedes", but he was able to complete it only in 1848. He did not stop his work on portraits.
In 1810, his grant ended, but Ingres decides to stay in Rome, finding support in the occupying French government.
In 1811, Jean-Auguste-Dominique completed his painting Jupiter and Thetis, which once again received harsh condemnation in Paris. Ingres was wounded, 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 wholeheartedly believed in her husband, which gave her the strength to endure all troubles. He continued to endure disparaging reviews, and his Don Pedro of Toledo kisses the sword of Henry IV, Raphael and Fornarina, several portraits, as well as works in Sistine Chapel met with hostile criticism in 1814.
In 1812, Jean Auguste Dominique wrote "Virgil reading the Aeneid" for the French governor's residence in Rome, in 1813 - "Romulus - the winner of Akron", "The Dream of Ossian" - these colossal works were written for the Roman palace of Napoleon. These paintings, in fact, became the embodiment of that history painting that Ingres wanted to show the world.
In the spring of 1814, Ingres went to Naples, where he paints portraits of Queen Carolina Murat and her family, as well as three works: The Betrothal of Raphael, The Great Odalisque and Paolo and Francesca.
In 1815, along with the collapse of Napoleon, the Murat regime was also defeated, which is why Ingres found himself in Rome without the patronage 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 valued as priceless pieces of fine art.
In 1817, Ingres performs Henry IV Playing with His Children, and the following year, The Death of Leonardo da Vinci. In Rome, the painting "Christ Gives the Keys to Peter" (1817-1820) was appreciated, but the authorities of the Vatican forbade him to send this work to Paris for an exhibition.
In 1816, Ingres received an order to complete a 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 the man, does some sketches, but in the end refuses to work, wanting to remain true to his convictions.
During this time, Ingres developed friendships with musicians, including Paganini, and regularly practiced the violin. In 1819, he sent to Paris his works "Great Odalisque", "Philip V and Marshal Berwick" and "Roger Freeing Angelique", which received all the same unflattering reviews.
Bather
Portrait of Madame Duvachy
Bather
Oedipus and Sphinx
Portrait of José Antonio Moltedo
Portrait of Madame Pancook
Portrait of Charles-Joseph-Lauren Corday
Jupiter and Thetis
Virgil reading the Aeneid
Romulus - Conqueror of Akron
Portrait of Baron Jacques Marc
Dream of Ossian
Large odalisque
Don Pedro of Toledo Kissing the Sword of Henry IV
Portrait of Madame Sennon
Raphael and Fornarina
The Sistine Chapel
Henry IV playing with his children
Death of Leonardo da Vinci
Paolo and Francesca
Roger freeing Angelique
Jean-Auguste-Dominique Ingres moved with his wife 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 "Entry of Charles V into 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 brings Ingres a resounding 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 consider the painter as the standard-bearer of classicism: the realism of his canvases fascinated, but some critics considered excessive naturalism vulgar.
In 1834 Ingres returned to Rome as director of the École de France. Despite his administrative duties, the painter does not stop painting: Antiochus and Stratonica, Portrait of Luigi Cherubini, Odalisque with a Slave, etc., come out from under his brush.
Vow of Louis XIII
Odalisque with a slave
Portrait of Madame Marie Marcotte
Apotheosis of Homer
Portrait of Louis-Francois Bertin
Antiochus and Stratonic
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 made several copies of the painting.
In 1843, Jean Auguste Dominique enthusiastically began painting great hall at the Chateau de Dampierre. But by 1849, his ardor died down due to the death of Ingres' wife, and the painting was not completed. In 1851, he still wrote "Jupiter and Antiope", but in July of that year he became a professor at the School of Fine Arts.
In 1852, Ingres married 43-year-old Delphine Ramel (the artist was 71 years old). This marriage gave strength to the painter, and in the next decade, Ingres completed several important works. A great work was the "Apotheosis of Napoleon I", written in 1853 on the ceiling of the hall in the Hotel de Ville (Paris), "Portrait of Princess Albert de Broglie" was completed in 1853 and "Joan of 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 international exhibition where an entire room was set aside for his work.
AT last years of his life, Ingres completed a number of paintings on historical theme and religious paintings, many of which were detailing of previously painted works.
He did not recognize the textured application of paint, large strokes, exaggeration of the effects of light and color (which is typical of the romantic school). He preferred local colors, only slightly turning into halftones, so his paintings are most expressive, which depict one or two figures.
The heroes of Ingres' paintings fully reflect his limited literary predilections: he read and re-read 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 complete 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 he could have spent all this time on historical painting. The most famous of all the portraits of the French painter is that of the journalist Louis-Francois Bertin, which quickly became a symbol of the growing economic and political power of the bourgeoisie. His female portraits 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”.
All lovers of new products in world cinema, you can visit the russianseriali website. Amazing movie quality and gripping storyline.