Monday, 27 February 2017

Jean-Auguste-Dominique Ingres – part 3

Jean-Auguste-Dominique Ingres (1780 – 1867) was a French Neoclassical artist. 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 recognised as his greatest legacy.

For a full biography see part 1. For earlier works see parts 1 and 2 also.

This is part 3 of a 8 – part series on the works of Jean-Auguste-Dominique Ingres:



1814 Madame de Senonnes
oil on canvas 84 x 106 cm
Musée des Beaux-Arts, Nantes, France

1814 Madame Haudborg-Lescot
graphite on light grey laid paper 31.2 x 24.1 cm
de Young - Legion of Honour Fine Arts Museums of San Francisco, CA

1814 Madame Jean-Auguste-Dominique Ingres, née Madeleine Chapelle
graphite on off-white paper 19.3 x 14.3 cm
Metropolitan Museum of Art, New York

1814 Marquis Allesandro d'Azzia
graphite and white gouache on tan wove paper laid on cardboard 26.8 x 21.1 cm
Fogg Art Gallery, Harvard Art Museums, Cambridge MA

1814 Pope Pius VII in the Sistine Chapel
oil on canvas 74.5 x 92.7 cm
National Gallery of Art, Washington, DC

1814 Portrait of a Man
graphite 21.8 x 16.6 cm
Metropolitan Museum of Art, New York

1814 Portrait of a Seated Lady
graphite 29.2 x 20.6 cm
Metropolitan Museum of Art, New York City


1814 Raphael and the Fornarina

This composition, the first of six versions, articulates Ingres’s conception of the art of painting. For him, the oeuvre of the Renaissance artist Raphael was the pinnacle of artistic achievement. Here Ingres draws on Raphael’s relationship with the woman known as “La Fornarina” (the Little Baker), which, according to the biographer Giorgio Vasari, led to the young artist’s death from an excess of lovemaking. Raphael has just sketched the famous portrait of her, and his beloved subject sits on his knee. But Raphael has eyes only for his own creation, which, like Ingres’s representation of its model, meets the viewer’s gaze. This triangle of glances is complicated by the presence of the Virgin in Raphael’s Madonna of the Chair, seen against the back wall, where she resembles the artist’s lover.


1814 Raphael and the Fornarina
oil on canvas 64.8 x 53,3 cm
Fogg Museum, Harvard Art Museums, Cambridge, MA

1814-40 Raphael And Fornarina
oil on canvas
Columbus Museum of Art, Ohio

1814c Study for "Raphael and the Fornarina"
graphite on white wove paper 25.4 x 19.7 cm
Metropolitan Museum of Art, New York City

1814c Study for "Raphael and the Fornarina"
graphite on white wove paper 37 x 26.2 cm
Fogg Museum, Harvard Art Museums, Cambridge, MA


1814 The Architect Guillaume Edouard Allais
chalk 21.1 x 16 cm
Private Collection

1814-16 Sheet of Studies with the Head of the Fornarina and Hands of Madame de Senonnes
graphite with stumping on tan wove paper 18.9 x 21 cm
Art Institute of Chicago, IL

1814c Don Pedro of Toledo Kissing the Sword of Henri IV
oil on panel 49 x 41 cm
Private Collection

1814c Madeleine Ingres, nee Chapelle
oil on canvas 68 x 54 cm
Sammlung E.G.Bührle, Zurich, Switzerland

1815 Alexandre Lethiere Family

1815 Frau Reinhold and Her Daughters, Susette-Marie and Marie-Auguste-Friederike
graphite 303 x 22.5 cm
The Morgan Library and Museum, New York City

1815 Frederic Sylvester Douglas
lithograph
National Gallery of Art, Washington, DC

1815 Guillaume Guillon Lethière ( 1760-1832 )
graphite on wove paper 28 x 23.1 cm
The Morgan Library and Museum, New York City

1815 Jean Pierre Cortot
33 x 41.5 cm

1815 Jean-Joseph Fournier
graphite on wove paper 24.2 x 16.2 cm
Metropolitan Museum of Art, New York

1815 John Russel, Sixth Duke of Bedford

1815 Joseph-Antoine de Nogent
oil on panel 47 x 33.3 cm
Fogg Art Galler, Harvard Art Museums, Cambridge MA

1815 Madame Alexandre Lethière, née Rosa Meli, and Her Daughter, Letizia
graphite on tracing paper 23.1 x 20.2 cm
Metropolitan Museum of Art, New York

1815 Madame Charles Hayard and Her Daughter Caroline
graphite on white wove paper 29.2 x 22 cm
Fogg Art Gallery, Harvard Art Museums, Cambridge MA

1815 Mademoiselle Jeanne Hayard

1815 Maréchale Kutusov
graphite on paper 13.2 x 8.7 cm
The Fitzwilliam Museum, Cambridge, UK

1815 Portrait of a Russian General
watercolour 29.6 x 22 cm
The State Hermitage Museum, St. Petersburg, Russia

1815 Portrait of the Family of Lucien Bonaparte
graphite on white wove paper 41.2 x 53.2 cm
Fogg Art Gallery, Harvard Art Museums, Cambridge MA

1815 The Duke of Alba Receiving the Pope's Blessing in the Cathedral of Sainte-Gudule, Brussels
pen and brown ink and brown wash heightened with white gouache, with red and black chalk and graphite 43 x 52.9 cm
J. Paul Getty Museum, Los Angeles

1815 The Hon. Frederick North
graphite 47 x 41 cm
Art Gallery of New South Wales, Sydney, Australia

1815-17c Portrait of a Lady
graphite on wove paper 27.6 x 19.9 cm
Museum of Modern Art, New York

1815c Portrait of a Young Woman
graphite 28 x 20.7 cm
The State Hermitage Museum, St. Petersburg, Russia

1816 Alexander Baillie
graphite on paper
Private Collection

1816 Gabriel Cortois de Pressigny
etching
National Gallery of Art, Washington, DC

1816 Lady Glenbervie, née Catherine Anne North
graphite on wove paper 21 x 16.5 cm
The Morgan Library and Museum, New York

1816 Lady Mary Cavendish-Bentinck
graphite 21.9 x 17.1 cm
Metropolitan Museum of Art, New York

1816 Lord Graham
graphite 40.5 x 28.3 cm
J. Paul Getty Museum, Los Angeles, CA

1816 Mademoiselle Henriette Ursule Claire, Maybe Thevenin, and Her Dog Trim

1816 Mr and Mrs Joseph Woodhead and Mr Henry Comber in Rome
graphite on paper 30.4 x 22.4 cm
The Fitzwilliam Museum, Cambridge, UK

1816 Mrs Charles Badham
graphite on wove paper 26.3 x 21.8 cm
National Gallery of Art, Washington, DC

1816 Mrs John Mackie
graphite on paper 17 x 16.5 cm
© Victoria & Albert Museum, London

1816 Mrs. George Vesey and Her Daughter Elizabeth Vesey, later Lady Colthurst
graphite and white gouache on white wove paper 29.9 x 22.4 cm
Fogg Art Gallery, Harvard Art Museums, Cambridge MA

1816 Sylvester Douglas, Lord Glenbervie
graphite on wove paper 21 x 16.4 cm
The Morgan Library and Museum, New York City

1816 The Tomb of Lady Jane Montagu
pen and brown ink and watercolour over graphite 44.5 x 55.8 cm
National Gallery of Victoria, Melbourne, Australia

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