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For more than half of the nineteenth century, French artist Jean-Auguste-Dominique Ingres (1780-1867) depicted the rapidly changing appearance of the fashionable woman with meticulous attention to detail and with rare perception and empathy. Working in a period that witnessed the development of a consumer society and the beginnings of couture, Ingres charted in his portraits how clothes were worn and what part they played in definitions of identity and status. This book explores for the first time the ways in which clothing, accessories, and fabrics define and display women in Ingres's portraits. With more than 150 illustrations that include the artist's portraits, fashion plates, portraits by contemporaries, and surviving items of costume, the book illuminates Ingres's work and its relation to the social and artistic discourse of his time.Eminent dress historian Aileen Ribeiro analyzes in detail Ingres's attitudes, his skill in depicting clothing, and how he portrays the real and idealized woman in his paintings and drawings of the fashionable mainstream -- the grandes dames of elite society, the newly opulent bourgeoisie, English visitors to Italy, and family and friends. Ribeiro also devotes a section of the book to the part played by textiles and accessories in Ingres's images of bathers and odalisques.
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)
Relatively few garments survive from before the eighteenth century, and the history of costume in the preceding centuries must therefore rely to a great extent on literary and visual evidence. This book, the first of its kind, examines Stuart England through the mirror of dress. It argues that both artistic and literary sources can be read and decoded for important information on dress and the way it was perceived in a period of immense political, social, and cultural change. Focusing on the rich visual culture of the seventeenth century, including portraits, engravings, fashion plates, and sculpture, and on literary sources--poetry, drama, essays, sermons--the distinguished historian of dress Aileen Ribeiro creates a fascinating account of Stuart dress and how it both reflected and influenced society. Supported by a wealth of illustrative images, she explores such varied themes as court costumes, the masque, the ways in which political and religious ideologies could be expressed in dress, and the importance of London as a fashion center. This beautiful book is an indispensable and authoritative account of what people wore and how it related to Stuart England’s cultural climate.
Ingres’ portrait drawings rank among the art’s supreme achievements, exhibiting the artist’s brilliant draftsmanship and rare ability to capture character and personal style. This splendid volume presents Ingres portraits of many affluent and distinguished men and women of his age, among them the celebrated French composer Charles Gounod. Sources include the Louvre Museum, the Metropolitan Museum of Art and the Pierpont Morgan Library.
Jean-Auguste-Dominique Ingres (1780-1867) produced a body of work that strongly appealed to his contemporaries while disconcerting them. Even today, the odd qualities of his work continue to fascinate scholars, critics, and artists. In this handsomely illustrated and elegantly written book, Susan L. Siegfried argues that the strangeness associated with Ingres's paintings needs to be located in the complex and richly invested nature of the work itself, as well as in the artist's very powerful--if often perverse--sense of artistic project. She shows that his major re-thinking of pictorial narrative - in his classical literary, historical, and religious subjects - was as central to his achievement as his distinctive rendering of the female figure in classical nudes and portraits. He was engaged in a complex process of giving visual form to narrative, which he did in new and unusual ways that involved him in a close reading of the texts on which he drew, including authors such as Homer, Virgil, Ariosto, and Dante, as well as religious narratives and stories about medieval and early modern French history.
This provocative book - the first full-length feminist and sociohistorical study of Ingres's art - explores the meanings behind the fluid, distorted, and sensualized bodies that populate these works. Carol Ockman traces the shift in late eighteenth-century French art from the neoclassical representation of the heroic male to the sensualized, homoerotic male nude to the nineteenth-century emphasis on the female nude. She then explores the problems posed by the increasing identification of the sensual with the female body, demonstrating that both neoclassicism and modernism sanction an ideal that conjoins the sensual and feminine with the deformed and bestial.
The fourth book of the Drawing Gallery Series is devoted to Jean-Auguste-Dominique Ingres (1780-1867). Considered one of the greatest French draughtsmen of all time, the artist left thousands of preparatory drawings for his paintings, along with an incomparable series of almost five hundred graphite portraits that have always been deemed the highest expression of his genius. The Louvre collection offers excellent examples of these two aspects of Ingres' graphic activity; each work is accompanied by a brief comment.