{"id":110,"date":"2019-10-03T07:14:16","date_gmt":"2019-10-03T07:14:16","guid":{"rendered":"https:\/\/eportfolios.capilanou.ca\/margauxworrall\/?p=110"},"modified":"2019-10-03T07:14:16","modified_gmt":"2019-10-03T07:14:16","slug":"neoclassical-jean-auguste-dominique-ingres","status":"publish","type":"post","link":"https:\/\/eportfolios.capilanou.ca\/margauxworrall\/2019\/10\/03\/neoclassical-jean-auguste-dominique-ingres\/","title":{"rendered":"Neoclassical – Jean Auguste Dominique Ingres"},"content":{"rendered":"\n

Jean Auguste Dominique Ingres was born on the 29th of August 1780 in Montauban, France. His first artistic education was received through his father, Jean-Marie Joseph followed by the Fine Arts Academy in Toulouse in 1791. His artistic career escalated quickly after 1797. In the following four years, he had studied in the studio of Dalia, was accepted into the \u00c9cole des Beaux Art and received the award Prix de Rome for his piece The Envoys of Agamemnon<\/em> (fig.1). His paintings followed the Romanesque style with its vivid emotions and imaginary settings.
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Figure 1. The Envoys of Agamemnon <\/figcaption><\/figure><\/div>\n\n\n\n

Around the beginning of the 19th century, Ingres began to gain a reputation as a portraitist. His style, although still romantic is some perspective, began to reflect the Byzantines era due to harsh frontality found in his paintings. The adoption of a quality found in the Late Gothic period, labeled his art barbaric and archaic. His most criticized work being Napoleon on his Imperial Throne<\/em> (1806) (fig.2). His front facing portrait, displaying little to no emotion with addition to his position emphasizing power displayed \u201cstylistic references (…) of the past\u201d (Napoleon, 2017). However, such work is now admired for his \u201cuncanny control of delicate yet firm line, (his) inventiveness in posing sitters so as to reveal personality through gestures, and (his) impressive capacity to record an exact likeness\u201d(Encyclop\u00e6dia Britannica, 2019).
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Ingles moved to Rome, Italy where he continued his portrait work. Even with the fall of Napoleon’s Empire, Ingles created small portraits easily sold to English tourists. Suddenly, around the 1818s, Ingles began to resent portrait work and desire to paint great historical moments. Despite his change in subjects, his paintings were still being criticized as gothic. Notably his piece Paolo and Francesca <\/em>(1819) (fig.3) which displayed extreme stiffness according to the public.
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