Monsieur de Norvins had recently been appointed Chief of Police in Rome when Ingres painted his portrait in 1811. Media in category "Madame Moitessier (Ingres - National Gallery, London)" The following 12 files are in this category, out of 12 total. She is the embodiment of luxury and style during the Second Empire, which saw the restoration of the French imperial throne and the extravagant display of wealth. In Rome, he studied at the French Academy (of which he later became Director) and worked on numerous commissions, from great classicizing works for Napoleon to small portraits of French visitors. The bust was most likely of the King of Rome, the infant son of Napoleon, born in March 1811. Each Ingres painting has been recreated as a high quality digital reproduction available as a print, framed print or canvas print. But as is often the case with Ingres, there is more going on in this painting than might at first appear.
These ‘distortions’ are part of Ingres’s deliberate manipulation of pictorial space.Madame Moitessier is a fine example of Ingres’s late style in its combination of sumptuous visual display, extraordinary technical skill, compositional complexity and psychological presence.
Browse our range of the most famous paintings by Jean-Auguste-Dominique Ingres from the National Gallery collection. Born into a modest family in Montauban, he travelled to Paris to study in the studio of David. Magazine of Art 44, no. National Gallery of Art. Ingres was profoundly informed by past artistic traditions, and in his career assumed the role of a guardian of academic orthodoxy against the ascendant Romantic style, exemplified by Eugène Delacroix. The main figure, whose bearded face is shown in profile, is the lyric poet Pindar (518–438 BC). The initial plan was to include the sitter’s four-year-old daughter, Catherine, leaning against her mother’s knees. Its pinkish-reds and blues are echoed in the vase on the left, and its distinctive floral design repeated in the ornate flowers, buds and leaves of the picture’s elaborate gilded frame. Jean-Auguste-Dominique Ingres (French: [ʒɑnoɡyst dominik ɛ̃ɡʁ]; 29 August 1780 – 14 January 1867) was a French Neoclassical painter. He finally achieved a great Salon success in 1824 with his Raphaelesque painting of the Vow of Louis XIII, and became recognized as the leader of the Neoclassical school in France. During …
The following year, his indignation at the harsh criticism of his ambitious composition The Martyrdom of Saint Symphorian caused him to return to Italy, where he assumed directorship of the French Academy in Rome in 1835. Monsieur de Norvins had recently been appointed Chief of Police in Rome when Ingres painted his portrait in 1811. On the pedestal beneath it, the letters ROM refer to Norvins’ position in Rome. Ingres adored everything that Italy had to offer, from the masterpieces of the Renaissance to the numerous examples of antique art. He is presented as a reserved, even forbidding, figure who closely scrutinises us as we look at him. This image is licensed for non-commercial use under a As a charity, we depend upon the generosity of individuals to ensure the collection continues to engage and inspire. She is the embodiment of luxury and style during the Second Empire, which saw the restoration of the French imperial throne and the extravagant display of wealth. Norvins’ black suit further adds to the severe mood of the painting, but it also creates a sharp contrast with the brilliant white of his collar and shirt cuffs. The scene shown here is taken from an episode in the sixteenth-century epic poem Orlando Furioso, by Ludovico Ariosto.
Instead, his thin lips, framed by a hint of stubble, are slightly pursed, as if he is thinking or coming to a decision. The reflection is not entirely consistent with her actual position. It first appeared in the 1750s after the discovery of ancient archaeological sites in Greece and Rome. The Christian knight Ruggiero has discovered the pagan princess Angelica, who has been abducted by barbarians. Although commissions for history paintings freed him to paint fewer portraits, it was his portrait of Louis-François Bertin that gave him his next popular success in 1833. Chris Riopelle, the Neil Westreich Curator of Post 1800 Paintings, discusses Ingres’s ‘Madame Moitessier’. Help keep us free by making a donation today. [1] Illustrated in Henry LaPauze, Ingres, sa vie et son oeuvre (1780-1867) d'apres documents inédites, Paris, 1911: 440-446, 452-461, as in the collection of the comtesse de Flavigny. Trafalgar Square, London WC2N 5DN Book your visit. This not only allows Ingres to fill almost a third of the picture with her sumptuous dress – and display his virtuoso skill in painting it – but it also gives her an aura of majesty as, self-assured and serene, she calmly gazes upon us. You will be able to seamlessly ‘Favourite’ images and download large images for personal use.Registered Address: National Galleries of Scotland, 73 Belford Road, Edinburgh, EH4 3DS National Galleries of Scotland is a charity registered in Scotland (No. This head and shoulders portrait is based upon a three-quarter length portrait of the Duc d’Orléans (1810–1842), the eldest son of King Louis Philippe and heir to the French throne, which Ingres completed in 1842.
Such ideals have been revived at various points in history since, and contrast with more decadent and dynamic styles such as the Baroque.In 1765, the Scottish poet-historian James MacPherson published a collection of poems in English called 'The Works of Ossian'. Wearing her finest clothes and jewellery, Madame Moitessier gazes majestically at us.
On meeting … He is presented as a reserved, even forbidding, figure who closely scrutinises us as we look at him.
While working in Rome and subsequently Florence from 1806 to 1824, he regularly sent paintings to the Paris Salon, where they were faulted by critics who found his style bizarre and archaic.