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Portraits by Ingres: Image of an Epoch
"Portraits by Ingres: Image of an Epoch, published in conjunction with an exhibition at The National Gallery, London, the National Gallery of Art, Washington, D.C., and The Metropolitan Museum of Art, New York, is the first comprehensive study of these nineteenth-century masterpieces." "This volume unites texts by American and European scholars with the most complete visual presentation ever of Ingres's portraits. The biographical essays and the catalogue entries provide fresh insights based on examination and interpretation of original correspondence, contemporary reviews, and newly discovered documents; supplementing these are an introduction that discusses Ingres's sources of inspiration, essays on the critical reception of the portraits and on the artist's use of assistants, and a detailed illustrated chronology."--BOOK JACKET.
- GenresArt
596 pages, Hardcover
First published January 1, 1999
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December 25, 2017
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http://www.metmuseum.org/research/met...
“What man has better painted the nineteenth century? The gallery of portraits by Ingres, begun in 1804 and completed in 1861, is that not the most faithful image of an epoch?” – Leon Lagrange, 1867.
“Cursed portraits! They always keep me from undertaking important things.” – Jean-Auguste-Dominique Ingres
Portraits by Ingres chronicles the life of Ingres through his artworks. Each chapter, separated by where Ingres was living, explores the development of Ingres’ art and personality. Through reading this, one develops an understanding of Ingres as a person, as well as how his artwork formed in response to the pressures of the eighteenth/ nineteenth century academy. Having been a student of Jacques Louis David, and winning the Prix de Rome in 1802 with his painting “The Ambassadors of Agamemnon in the tent of Achilles”, Ingres was sent to study in Rome.
During his stay in Rome, Ingres sent paintings back to the academy in Paris. However, he faced poor reception: “So the Salon is the scene of my disgrace; […] I am the victim of ignorance, bad faith, calumny. The scoundrels, they waited until I was away to assassinate my reputation ... I have never been so unhappy....I knew I had many enemies; I never was agreeable with them and never will be.” This indignation would continue throughout Ingres’ life, due to his excessive sensibility and insatiable desire for glory. This was further exacerbated by his lack of formal education, which hampered his ability to express himself both verbally and in writing.
Although his historical paintings have not left their mark in history when compared to that of the Romantic Delacroix, Ingres’ would become one of the most celebrated portrait artists in the 19th Century. Rather ironically, as Ingres aspired to be a history painter. For example, when a visitor asked ‘is this where the man who draws the little portraits lives?’, Ingres would answer with irritation: ‘No, the man who lives here is a painter!’”. Furthermore, Ingres saw drawing portraits as an occupation beneath the dignity of a history painter. Regardless, money was needed. Portraits gave Ingres a steady income, often commissioned by visiting Frenchman or by wealthy European travelers on the grand tour.
Due to his rising popularity, Ingres noted that “I am not at all a social person, and they want me to go out into society… I would rather be unknown here”. Ingres wanted glory and immortality, but did not want popularity or publicity. I can only think how similar that is to Degas, who “wished to be illustrious but unknown, and when, after he had become illustrious, anyone wrote an article about them, [he] would never speak to the writer again.” (Kenneth Clark, Romantic Rebellion, p.309).
Although a complex character, and extremely insecure, one cannot help to admire Ingres: an individual, and a guardian of academic orthodoxy. Perhaps no other book gets closer to who Ingres was. Without looking at his art, Ingres is not Ingres.
To leave, I give you the truest feeling one can feel.
“In May 1849 beloved Madeleine [Ingres] suddenly was taken ill. On July 27, to Ingres’ immense sorrow, she was taken from him. On the day after her death, Ingres wrote to his old friend:
‘It is in the most horrible despair that I
must now break your heart: Yesterday I
lost my wife, my poor wife, and I too
could die from a pain that nothing can
express. You loved her so much, you, my
worthy friend, all your loved ones, and
everyone who knew her. But for me, for
me, she is dead, and I will never see her
again. My dear friend, my dear friend,
never again! It's horrible and I rage
against everything, against Heaven itself,
but what is to become of me! Everything
is finished. I no longer have her, no longer
have a home. I am broken and all I can do
is weep in despair.’”.
http://www.metmuseum.org/research/met...
“What man has better painted the nineteenth century? The gallery of portraits by Ingres, begun in 1804 and completed in 1861, is that not the most faithful image of an epoch?” – Leon Lagrange, 1867.
“Cursed portraits! They always keep me from undertaking important things.” – Jean-Auguste-Dominique Ingres
Portraits by Ingres chronicles the life of Ingres through his artworks. Each chapter, separated by where Ingres was living, explores the development of Ingres’ art and personality. Through reading this, one develops an understanding of Ingres as a person, as well as how his artwork formed in response to the pressures of the eighteenth/ nineteenth century academy. Having been a student of Jacques Louis David, and winning the Prix de Rome in 1802 with his painting “The Ambassadors of Agamemnon in the tent of Achilles”, Ingres was sent to study in Rome.
During his stay in Rome, Ingres sent paintings back to the academy in Paris. However, he faced poor reception: “So the Salon is the scene of my disgrace; […] I am the victim of ignorance, bad faith, calumny. The scoundrels, they waited until I was away to assassinate my reputation ... I have never been so unhappy....I knew I had many enemies; I never was agreeable with them and never will be.” This indignation would continue throughout Ingres’ life, due to his excessive sensibility and insatiable desire for glory. This was further exacerbated by his lack of formal education, which hampered his ability to express himself both verbally and in writing.
Although his historical paintings have not left their mark in history when compared to that of the Romantic Delacroix, Ingres’ would become one of the most celebrated portrait artists in the 19th Century. Rather ironically, as Ingres aspired to be a history painter. For example, when a visitor asked ‘is this where the man who draws the little portraits lives?’, Ingres would answer with irritation: ‘No, the man who lives here is a painter!’”. Furthermore, Ingres saw drawing portraits as an occupation beneath the dignity of a history painter. Regardless, money was needed. Portraits gave Ingres a steady income, often commissioned by visiting Frenchman or by wealthy European travelers on the grand tour.
Due to his rising popularity, Ingres noted that “I am not at all a social person, and they want me to go out into society… I would rather be unknown here”. Ingres wanted glory and immortality, but did not want popularity or publicity. I can only think how similar that is to Degas, who “wished to be illustrious but unknown, and when, after he had become illustrious, anyone wrote an article about them, [he] would never speak to the writer again.” (Kenneth Clark, Romantic Rebellion, p.309).
Although a complex character, and extremely insecure, one cannot help to admire Ingres: an individual, and a guardian of academic orthodoxy. Perhaps no other book gets closer to who Ingres was. Without looking at his art, Ingres is not Ingres.
To leave, I give you the truest feeling one can feel.
“In May 1849 beloved Madeleine [Ingres] suddenly was taken ill. On July 27, to Ingres’ immense sorrow, she was taken from him. On the day after her death, Ingres wrote to his old friend:
‘It is in the most horrible despair that I
must now break your heart: Yesterday I
lost my wife, my poor wife, and I too
could die from a pain that nothing can
express. You loved her so much, you, my
worthy friend, all your loved ones, and
everyone who knew her. But for me, for
me, she is dead, and I will never see her
again. My dear friend, my dear friend,
never again! It's horrible and I rage
against everything, against Heaven itself,
but what is to become of me! Everything
is finished. I no longer have her, no longer
have a home. I am broken and all I can do
is weep in despair.’”.
March 17, 2025
A beautiful, well bound book with excellent color plates.
Engres' use of the oil medium renders skin tones with an ethereal luminous quality. His portraiture skill is staggering.
I bought this book many years ago. Still in perfect condition.
Engres' use of the oil medium renders skin tones with an ethereal luminous quality. His portraiture skill is staggering.
I bought this book many years ago. Still in perfect condition.
October 6, 2020
This is not the first book on Ingres I've read because he's one of my favourites, but I wanted to learn more about his portraits and, especially, read more about Marie d'Agoult in relation to him. There are quotes about Ingres by her throughout the book - pure joy to read!
Marie d'Agoult with her daughter Claire d'Agoult.
There is also a book called Ingres and the Studio: Women, Painting, History that focuses exclusively on the women he painted which I hope to get to soon.
Marie d'Agoult with her daughter Claire d'Agoult.
There is also a book called Ingres and the Studio: Women, Painting, History that focuses exclusively on the women he painted which I hope to get to soon.
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November 28, 2015You may read online at MetMuseum
Displaying 1 - 4 of 4 reviews