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Jean-Auguste Dominique Ingres
The Virgin with the Host
1854
Musee d'Orsay, Paris
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Jean-Auguste Dominique Ingres
Joan of Arc at the Coronation of Charles VII
1854
Musee d'Orsay, Paris
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Jean-Auguste Dominique Ingres
Venus at Paphos
1853
Musee d'Orsay, Paris
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Jean-Auguste Dominique Ingres
The Comtesse d'Haussonville
1845
The Frick Collection, New York
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Jean-Auguste Dominique Ingres
Roger and Angelica
1839
National Gallery, London
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Jean-Auguste Dominique Ingres
Portrait of Louis Francois Bertin
1832
Musee d'Orsay, Paris
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Jean-Auguste Dominique Ingres
Amedee David
1823
Art Institute of Chicago
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Jean-Auguste Dominique Ingres
1823 Art Institute of Chicago
1821
The Hermitage, St.Petersburg
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Jean-Auguste Dominique Ingres
Mme.De Senonnes
1814
Musee des Beaux Arts, Nantes
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Jean-Auguste Dominique Ingres
Raphael and the Fornarina
1814
Fogg Art Museum, Harvard University
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Jean-Auguste Dominique Ingres
Grande Odalisque
1814
Musee d'Orsay, Paris
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Jean-Auguste Dominique Ingres
Romulas, Conqueror of Acron
1812
Ecole des Beaux Arts, Paris
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Jean-Auguste Dominique Ingres
M.Charles Joseph Laurent Cordier
1811 Musee d'Orsay, Paris
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Jean-Auguste Dominique Ingres
The Valpincon Bather
1808
Musee d'Orsay, Paris
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Jean-Auguste Dominique Ingres
Portrait of Francois Marius Granet
1807
Musee Granet, Aix en Province
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Jean-Auguste Dominique Ingres
Portrait of Mlle.Riviere
1805
Musee d'Orsay, Paris
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Jean-Auguste Dominique Ingres
Portrait of Mme.Riviere
1805
Musee d'Orsay, Paris
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Jean-Auguste Dominique Ingres
Portrait of M.Philibert Riviere
1805
Musee d'Orsay, Paris
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Jean-Auguste Dominique Ingres
Bonaparte as First Consul
1804
Musee des Beaux Arts, Liege
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Jean-Auguste Dominique Ingres
The Ambassadors of Agamemnon in the Tent of Achilles
1801
Ecole des Beaux Arts, Paris
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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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