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Jean-Auguste Dominique Ingres
Angel
mk227
47x39cm
1819
Oil on canvas
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Jean-Auguste Dominique Ingres
Yidipasi and sifenkesi
mk227
1808
Oil on canvas
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Jean-Auguste Dominique Ingres
Study of Christ
mk227
1830-1931
Oil on canvas
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Jean-Auguste Dominique Ingres
Study of Christ
mk227
Oil on canvas
1830-1831
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Jean-Auguste Dominique Ingres
Napoleon
mk227
oil on canvas
260x163cm
1806
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Jean-Auguste Dominique Ingres
Mary
mk227
106x84cm
1828
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Jean-Auguste Dominique Ingres
Portrait of Duoyifu
mk227
76.5x59.5cm
1807
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Jean-Auguste Dominique Ingres
Portrait of Mali
mk227
1809
Oil on canvas
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Jean-Auguste Dominique Ingres
Portrait of Zaerci
mk227
90x60cm
1811
Oil on canvas
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Jean-Auguste Dominique Ingres
Yasifu
mk227
55x47cm
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Jean-Auguste Dominique Ingres
Portrait of Peier
mk227
99x81cm
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Jean-Auguste Dominique Ingres
Portrait of man
mk227
75.2x58.1cm
1810
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Jean-Auguste Dominique Ingres
Portrait of Paul
mk227
46x35cm
1810-1811
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Jean-Auguste Dominique Ingres
Portrait of Idemi
mk227
Oil on canvas
94x69cm
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Jean-Auguste Dominique Ingres
Portrait of woman
mk227
1811
Oil on canvas
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Jean-Auguste Dominique Ingres
Portrait of Pier
mk227
1780-1806
Oil on canvas
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Jean-Auguste Dominique Ingres
The first consul
mk227
1780-1806
Oil on canvas
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Jean-Auguste Dominique Ingres
Lafier and Finalina
mk227
1814
66x56cm
Oil on canvas
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Jean-Auguste Dominique Ingres
Mrs. Madelin
mk227
Oil on canvas
68x54cm
1815
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Jean-Auguste Dominique Ingres
Zhenni
mk227
76.2x59.1cm
1821
Oil on canvas
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| Jean-Auguste Dominique Ingres
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French Neoclassical Painter, 1780-1867
was a French Neoclassical painter. Although he considered himself a painter of history in the tradition of Nicolas Poussin and Jacques-Louis David, by the end of his life it was Ingres' 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 Eug??ne 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..
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