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Jean-Auguste Dominique Ingres
Self-portrait
mk227
78.1x61cm
1804
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Jean-Auguste Dominique Ingres
Self-portrait
mk227
Oil on canvas
60x54cm
1858
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Jean-Auguste Dominique Ingres
Self-portrait
mk227
Oil on canvas
86.4x69.9cm
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Jean-Auguste Dominique Ingres
Self-portrait
mk227
oil on canvas
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Jean-Auguste Dominique Ingres
Portrait of man
mk227
1834cm
Oil on canvas
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Jean-Auguste Dominique Ingres
Portrait of henli
mk227
Oil on canvas
218x131cm
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Jean-Auguste Dominique Ingres
Portrait of Yake
mk227
121x95cm
1832
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Jean-Auguste Dominique Ingres
Portrait of Lady
mk227
146.7x100.3cm
1851
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Jean-Auguste Dominique Ingres
Portrait of Felibi
mk227
oil on canvas
115x90cm
1804-1805
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Jean-Auguste Dominique Ingres
Miss Kalolin
mk227
oil on canvas
99.5x64.5cm
1806
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Jean-Auguste Dominique Ingres
Yusefu
mk227
oil on canvas
75.2x58.1cm
1810
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Jean-Auguste Dominique Ingres
Makete
mk227
oil on canvas
93.7x69.4cm
1810
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Jean-Auguste Dominique Ingres
Portrait of Fulong
mk227
55x46cm
Oil on canvas
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Jean-Auguste Dominique Ingres
Portrait of Pier
mk227
Oil on canvas
64.8x54.5cm
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Jean-Auguste Dominique Ingres
Bather
mk227
Oil on canvas
116x82cm
1808
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Jean-Auguste Dominique Ingres
Angel
mk227
oil on canvas
47x39cm
1819
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Jean-Auguste Dominique Ingres
Yidipasi and Sifenkeci
mk227
Oil on canvas
1808
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Jean-Auguste Dominique Ingres
Napoleon
mk227
oil on canvas
260x163cm
1806
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Jean-Auguste Dominique Ingres
Caersi
mk227
Oil on canvas
90x60cm
1811
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Jean-Auguste Dominique Ingres
Pier
mk227
99x81cm
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| Jean-Auguste Dominique Ingres
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French Neoclassical Painter, 1780-1867
was a French Neoclassical painter. Although he considered himself a painter of history in the tradition of Nicolas Poussin and Jacques-Louis David, by the end of his life it was Ingres' portraits, both painted and drawn, that were recognized as his greatest legacy.
A man profoundly respectful of the past, he assumed the role of a guardian of academic orthodoxy against the ascendant Romantic style represented by his nemesis Eug??ne Delacroix. His exemplars, he once explained, were "the great masters which flourished in that century of glorious memory when Raphael set the eternal and incontestable bounds of the sublime in art ... I am thus a conservator of good doctrine, and not an innovator." Nevertheless, modern opinion has tended to regard Ingres and the other Neoclassicists of his era as embodying the Romantic spirit of his time, while his expressive distortions of form and space make him an important precursor of modern art..
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