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This book examines the critical writing and journalistic reportage on Jean-Auguste-Dominque Ingres, from the time of his renunciation of the Salon in1834 until his large retrospective at the 1855 Universal Exposition, the crucial middle decades of his career. This massive body of writing demonstrates how Ingres shaped his career in the rapidly evolving art world of mid-nineteenth century Paris. Enjoying the benefits of his affiliation with the Academy, the artist also employed certain modes of presentation, most notably the single-artist exhibition and illustrated monograph, through which he distanced himself and his work from the embattled world of artistic officialdom.
Ingres Then, and Now is an innovative study of one of the best-known French artists of the nineteenth century, Jean Auguste Dominique Ingres. Adrian Rifkin re-evaluates Ingres' work in the context of a variety of literary, musical and visual cultures which are normally seen as alien to him. Re-viewing Ingres' paintings as a series of fragmentary symptoms of the commodity cultures of nineteenth-century Paris, Adrian Rifkin draws the artist away from his familiar association with the Academy and the Salon. Rifkin sets out to show how, by thinking of the historical archive as a form of the unconscious, we can renew our understanding of nineteenth-century conservative or academic cultures by reading them against their 'other'. He situates Ingres in the world of the Parisian Arcades, as represented by Walter Benjamin, and examines the effect of this juxtaposition on how we think of Benjamin himself, following Ingres' image in popular cultures of the twentieth century. Rifkin then returns to the late eighteenth and early nineteenth centuries to find traces of the emergence of bizarre symptoms in Ingres' early work, symptoms which open him to a variety of conflicting readings and appropriations. It concludes by examining his importance for the great French art critic Jean Cassou on the one hand, and in making a bold, contemporary gay appropriation on the other. Ingres Then, and Now transforms the popular image we have of Ingres. It 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 is an effect of many, complex and overlapping historical effects.
In an unprecedented collaboration, two scholars investigate these masterpieces in their broad cultural context. This book is an illustrated, extensively documented, analytical tour de force.
An exploration of the portrait art of Jean Auguste Dominique Ingres, focusing on his studio practice and his training of students.
Om portrætter af den franske maler Jean Auguste Dominique Ingres (1780-1867)
In 850 analytical articles, this two-volume set explores the developments that influenced the profound changes in thought and sensibility during the second half of the eighteenth century and the first half of the nineteenth century. The Encyclopedia provides readers with a clear, detailed, and accurate reference source on the literature, thought, music, and art of the period, demonstrating the rich interplay of international influences and cross-currents at work; and to explore the many issues raised by the very concepts of Romantic and Romanticism.
The products of a series of encounters characterized by the negotiation of the desires of artist and sitter, ingriste portraits did not only exist in the rarefied realm of the atelier. The women portrayed included key participants in the artistic and social culture of Ingres's studio, including Julie Mottez, Marie d'Agoult, and Rachel [Elisabeth Rachel Felix]. Charting the convergence of aesthetic investments on the part of artists and noteworthy women subjects around the terms of monumental solidity and 'antiquity,' I demonstrate that operations of emulation exceeded the bounds of the (male) community of Ingres's students and the images of women they produced, and were shaped by the identities of women sitters as salonnieres, art critics, artists and aesthetic interlocutors. This project thereby traces the history of portraits of women within an atelier setting whose 'culture' was not limited to the space of the studio itself, or to the male artists who occupied it.