(Georges Vigne, John Goodman (Translator)
In this comprehensive, lavishly illustrated volume Georges Vigne examines Ingres's artistic life and brings together a staggering number of drawings, studies, and compositions. Guided by careful scrutiny of drawings and documents, Vigne reappraises deep-rooted assumptions and offers a wealth of candid insights on issues such as Ingres's faithful studio assistants, his official commissions that could weave in and out of political regimes, the legendary rivalries with Delacroix and the Romantics, and the curious motivation behind Ingres's seemingly endless line of copies and revisions of his earlier compositions.
Ingres, Then and Now
Ingres Then, and Now is an innovative study of one of the best-known French artists of the nineteenth century, Jean Auguste Dominique Ingres. Adam Rifkin reevaluates Ingres' work in the context of a variety of literary, musical and visual cultures which are normally seen as alien to him.
Rifkin offers insightful interpretations of Ingres' early work, and follows the artist's image in the popular cultures of the twentieth century. Approaching Ingres' paintings as symptomatic of the commodity cultures of nineteenth-century Paris, he draws the artist away from his familiar association with the Academy and the Salon, and instead situates Ingres in the world of the Parisian Arcades. Finally, the book examines Ingres' importance for the great French art critic Jean Cassou, and makes a bold, contemporary gay appropriation of his work.
Ingres Then, and Now transforms the popular image we have of Ingres. Rifkin argues that the figure of the artist is neither fixed in time or place--there is neither an essential man named Ingres, nor a singular body of his work--but rather is an effect of many complex and overlapping historical forces. Lavishly illustrated with over 50 images, this compelling study will transform our understanding of Ingres and his cultural impact.
Portraits by Ingres Image of an Epoch
(Jean-Auguste-Dominique Ingres, Gary Tinterow, Phillip Conisbee)
Like his contemporaries, Jean-Auguste-Dominique Ingres considered history paintings to be the most exalted form of art, with portraiture a lesser genre. Even during his lifetime, however, tastes were changing, and while icons like his Turkish Bath and Grande Odalisque are still highly regarded, Ingres is most admired today for his innovative and vivid portraits, which transcend time in their physical and psychological truth. Portraits by Ingres--the catalog of the first comprehensive exhibition in America of Ingres's portraits, organized by the Metropolitan Museum in New York and the National Galleries in Washington, D.C., and London--is beautifully produced and impressively researched. And it will now stand as the definitive study of the subject. Eight eminent curators and critics have contributed essays that include the latest scholarship and a wealth of well-chosen comparative material. The sitters and the technical production of the portraits are described with great analytic flair. Perhaps the most famous image is that of Louis-Franšois Bertin, made in 1837--a painting startling then as now for its almost photographic likeness. Contemporary luminaries, from beauties like Madame Moitessier to composers Charles Gounod and Niccol˛ Paganini, look out at viewers with intelligence and verve; by telling their stories, the catalog entries provide a delightful history lesson of the second empire in France. At the end of Ingres's life in 1867, Leon Legrange summed up the artist's achievement: "What man has painted the nineteenth century more successfully? Is not Ingres' gallery of portraits ... the most faithful image of an epoch?"