Jean-Auguste-Dominique Ingres (29 August 1780 – 14 January 1867) was a French Neoclassical painter. He considered himself a painter of history in the tradition of Nicolas Poussin and Jacques-Louis David. His portraits, both painted and drawn, are recognized as his greatest legacy.
About Jean-Auguste-Dominique Ingres in brief
Jean-Auguste-Dominique Ingres (29 August 1780 – 14 January 1867) was a French Neoclassical painter. He was profoundly influenced by past artistic traditions and aspired to become the guardian of academic orthodoxy against the ascendant Romantic style. His expressive distortions of form and space made him an important precursor of modern art, influencing Picasso, Matisse and other modernists. Ingres considered himself a painter of history in the tradition of Nicolas Poussin and Jacques-Louis David. His portraits, both painted and drawn, are recognized as his greatest legacy. He died in Paris in 1867, and was buried in the Cimetière du Centre-Drouot, Toulouse, where he was a member of the Académie Royale de Peinture, Sculpture et Architecture. He is survived by his wife, Anne Moulet, and his son, Jean-Marie-Joseph Ingres, who died in 1973. He had a daughter, Anne-Marie, and a son, Joseph, who was also a painter and sculptor. He also had a son named Jean-Pierre, who worked as a draftsman and draftsman for the French government. His son was a sculptor, stonemason, and amateur musician; his mother was the nearly illiterate daughter of a master wigmaker. His first known drawing, a study after an antique cast, was made in 1789. He won the Prix de Rome in 1802 for his painting The Ambassadors of Agamemnon in the tent of Achilles. In March 1797, he was awarded the first prize in the Academy of Painting and Sculptures of France’s revolutionary period.
In 1797 he traveled to Paris to study in the studio of David, and in August he won the second prize in drawing and painting. He painted The Turkish Bath, the last of his several Orientalist paintings of the female nude, which he finished at the age of 83. His portrait of Monsieur Bertin marked his next popular success in 1833. The following year, his indignation at the harsh criticism of his ambitious composition The Martyrdom of Saint Symphorian caused him to return to Italy. In 1841, he assumed directorship of the French Academy in Rome. He later painted new versions of many of his earlier compositions, a series of designs for stained glass windows, several important portraits of women, and several important paintings of women. His last work, The Vow of Louis XIII, was met with acclaim in 1824, and Ingres was acknowledged as the leader of the Neoclassesical school in France. From an early age he was determined to be a history painter, and continued well into the 19th Century. He did not want to simply make portraits or illustrations of life like his father; he wanted to represent the heroes of religion, mythology and history, and show them in ways that explained their actions, rivaling the best works of literature and philosophy.
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