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    Ingres: 255 Plates
    Ingres: 255 Plates
    Ingres: 255 Plates
    Ebook265 pages17 minutes

    Ingres: 255 Plates

    By Maria Peitcheva

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    Ingres's style was formed early in life and changed comparatively little. His earliest drawings, such as the Portrait of a Man (1797) already show a suavity of outline and an extraordinary control of the parallel hatchings which model the forms. His portrait drawings, of which about 450 are extant, are today among his most admired works. While a disproportionate number of them date from his difficult early years in Italy, he continued to produce portrait drawings of his friends until the end of his life. Ingres drew his portrait drawings on wove paper, which provided a smooth surface very different from the ribbed surface of laid paper, which is, nevertheless, sometimes referred to today as "Ingres paper". Drawings made in preparation for paintings, are more varied in size and treatment than are the portrait drawings. He also drew a number of landscape views while in Rome but, with the exception of the small tondo Raphael's Casino, he painted no pure landscapes.
    LanguageEnglish
    PublisherMaria Peitcheva
    Release dateFeb 26, 2016
    ISBN9788892558373
    Ingres: 255 Plates

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      Book preview

      Ingres - Maria Peitcheva

      Ingres: 255 Plates

      Bay Maria Peitcheva

      First Edition

      *****

      Ingres: 255 Plates

      *****

      Copyright © 2016 by Maria Peitcheva

      Foreword

      Jean-Auguste-Dominique Ingres (1780 –1867) was a French Neoclassical painter. Although he considered himself to be a painter of history in the tradition of Nicolas Poussin and Jacques-Louis David, by the end of his life it was Ingres's portraits, both painted and drawn, that were recognized as his greatest legacy.

      A man profoundly respectful of the past, he assumed the role of a guardian of academic orthodoxy against the ascendant Romantic style represented by his nemesis, Eugène Delacroix. His exemplars, he once explained, were the great masters which flourished in that century of glorious memory when Raphael set the eternal and incontestable bounds of the sublime in art ... I am thus a conservator of good doctrine, and not an innovator. Nevertheless, modern opinion has tended to regard Ingres and the other Neoclassicists of his era as embodying the Romantic spirit of his time, while his expressive distortions of form and space make him an important precursor of modern art.

      He abhorred the visible brushstroke and made no recourse to the shifting effects of colour and light on which the Romantic school depended; he preferred local colours only faintly modelled in light by half tones (Whatever you know, you must know it with sword in hand.) Ingres thus left himself without the means of producing the necessary unity of effect when dealing with crowded compositions, such as the Apotheosis of Homer and the Martyrdom of Saint Symphorian. Among Ingres's historical and mythological paintings, the most satisfactory are usually those depicting one or two figures.

      Ingres's style was formed early in life and changed comparatively little. His earliest drawings, such as the Portrait of a Man (1797) already show a suavity of outline and an extraordinary control of the parallel hatchings which model the forms. From the first, his paintings are characterized by a firmness of outline reflecting his often-quoted conviction that drawing is the probity of art. He believed colour to be no more than an accessory to drawing, explaining: "Drawing is not just

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