Download Full eBooks in PDF
Ingres And The Studio Book in PDF, ePub and Kindle version is available to download in english. Read online anytime anywhere directly from your device. Click on the download button below to get a free pdf file of Ingres And The Studio book. This book definitely worth reading, it is an incredibly well-written.
Author : Sarah E. Betzer
Publisher : University of Pennsylvania Press
Page : 332 pages
File Size : 40,9 Mb
Release : 2012
Category : Portrait painting
ISBN : 0271048751
An exploration of the portrait art of Jean Auguste Dominique Ingres, focusing on his studio practice and his training of students.
Author : Jean-Auguste-Dominique Ingres,National Gallery (Great Britain)
Publisher : Metropolitan Museum of Art
Page : 610 pages
File Size : 51,8 Mb
Release : 1999
Category : Drawing, French
ISBN : 9780870998911
Om portrætter af den franske maler Jean Auguste Dominique Ingres (1780-1867)
Author : Jean-Auguste-Dominique Ingres
Publisher : Unknown
Page : 60 pages
File Size : 44,6 Mb
Release : 193?
Category : Electronic
ISBN : OCLC:10133737
Author : Jean-Auguste-Dominique Ingres,Georges Wildenstein
Publisher : Unknown
Page : 0 pages
File Size : 44,6 Mb
Release : 1954
Category : Artists
ISBN : LCCN:a54002386
Author : Anonim
Publisher : Penn State Press
Page : 314 pages
File Size : 54,7 Mb
Release : 2024-05-21
Category : Art
ISBN : 0271047585
In an unprecedented collaboration, two scholars investigate these masterpieces in their broad cultural context. This book is an illustrated, extensively documented, analytical tour de force.
Author : Andrew Carrington Shelton
Publisher : Cambridge University Press
Page : 340 pages
File Size : 47,7 Mb
Release : 2005-10-03
Category : Art
ISBN : 0521842433
This book examines the critical writing and journalistic reportage on Jean-Auguste-Dominque Ingres, from the time of his renunciation of the Salon in1834 until his large retrospective at the 1855 Universal Exposition, the crucial middle decades of his career. This massive body of writing demonstrates how Ingres shaped his career in the rapidly evolving art world of mid-nineteenth century Paris. Enjoying the benefits of his affiliation with the Academy, the artist also employed certain modes of presentation, most notably the single-artist exhibition and illustrated monograph, through which he distanced himself and his work from the embattled world of artistic officialdom.
Author : Anonim
Publisher : Unknown
Page : 61 pages
File Size : 49,8 Mb
Release : 1949
Category : Electronic
ISBN : OCLC:637989179
Author : Georges Vigne
Publisher : Unknown
Page : 0 pages
File Size : 52,8 Mb
Release : 1995
Category : Artists' preparatory studies
ISBN : 0789200600
This authoritative volume on Ingres is also the most complete monograph on any artist of his generation and a valuable chronicle of the man behind the last great studio in the classical tradition.
Author : Allison Deutsch
Publisher : Penn State Press
Page : 412 pages
File Size : 48,5 Mb
Release : 2021-02-26
Category : Art
ISBN : 9780271089935
In Consuming Painting, Allison Deutsch challenges the pervasive view that Impressionism was above all about visual experience. Focusing on the language of food and consumption as they were used by such prominent critics as Baudelaire and Zola, she writes new histories for familiar works by Manet, Monet, Caillebotte, and Pissarro and creates fresh possibilities for experiencing and interpreting them. Examining the culinary metaphors that the most influential critics used to express their attraction or disgust toward painting, Deutsch rethinks French modern-life painting in relation to the visceral reactions that these works evoked in their earliest publics. Writers posed viewing as analogous to ingestion and used comparisons to food to describe the appearance of paint and the painter’s process. The food metaphors they chose were aligned with specific female types, such as red meat for sexualized female flesh, confections for fashionably made-up women, and hearty vegetables for agricultural laborers. These culinary figures of speech, Deutsch argues, provide important insights into both the fabrication of the feminine and the construction of masculinity in nineteenth-century France. Consuming Painting exposes the social politics at stake in the deeply gendered metaphors of sense and sensation. Original and convincing, Consuming Painting upends traditional narratives of the sensory reception of modern painting. This trailblazing book is essential reading for specialists in nineteenth-century art and criticism, gender studies, and modernism.
Author : Adrian Rifkin
Publisher : Routledge
Page : 176 pages
File Size : 40,9 Mb
Release : 2005-06-20
Category : Art
ISBN : 9781134918720
Ingres Then, and Now is an innovative study of one of the best-known French artists of the nineteenth century, Jean Auguste Dominique Ingres. Adrian Rifkin re-evaluates Ingres' work in the context of a variety of literary, musical and visual cultures which are normally seen as alien to him. Re-viewing Ingres' paintings as a series of fragmentary symptoms of the commodity cultures of nineteenth-century Paris, Adrian Rifkin draws the artist away from his familiar association with the Academy and the Salon. Rifkin sets out to show how, by thinking of the historical archive as a form of the unconscious, we can renew our understanding of nineteenth-century conservative or academic cultures by reading them against their 'other'. He situates Ingres in the world of the Parisian Arcades, as represented by Walter Benjamin, and examines the effect of this juxtaposition on how we think of Benjamin himself, following Ingres' image in popular cultures of the twentieth century. Rifkin then returns to the late eighteenth and early nineteenth centuries to find traces of the emergence of bizarre symptoms in Ingres' early work, symptoms which open him to a variety of conflicting readings and appropriations. It concludes by examining his importance for the great French art critic Jean Cassou on the one hand, and in making a bold, contemporary gay appropriation on the other. Ingres Then, and Now transforms the popular image we have of Ingres. It argues that the figure of the artist is neither fixed in time or place - there is neither an essential man named Ingres, nor a singular body of his work - but is an effect of many, complex and overlapping historical effects.
Author : Susan L. Siegfried
Publisher : Unknown
Page : 536 pages
File Size : 42,6 Mb
Release : 2009
Category : Electronic
ISBN : UOM:39076002842750
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.
Author : Jean-Auguste-Dominique Ingres
Publisher : Delphi Classics
Page : 764 pages
File Size : 53,5 Mb
Release : 2020-10-09
Category : Art
ISBN : 9781913487324
The chief exponent of French Neoclassical painting in the mid-nineteenth century, Jean-Auguste-Dominique Ingres is noted for his cool, meticulously drawn works, representing the stylistic antithesis of the contemporary Romantic school. As a monumental history painter, Ingres sought to perpetuate the classical tradition of Raphael and Poussin, though today it is his portraits that are recognised as his greatest legacy. The extraordinary clarity of expression and microscopic detail of his work, rendered at a consistently, almost unbelievable quality won him many admirers. His expressive distortions of form and space made him an important precursor of modern art, influencing Degas, Picasso and Matisse. Delphi’s Masters of Art Series presents the world’s first digital e-Art books, allowing readers to explore the works of great artists in comprehensive detail. This volume presents Ingres’ complete paintings in beautiful detail, with concise introductions, hundreds of high quality images and the usual Delphi bonus material. (Version 1) * The complete paintings of Jean-Auguste-Dominique Ingres – over 300 images, fully indexed and arranged in chronological and alphabetical order * Includes reproductions of rare and lost works * Features a special ‘Highlights’ section, with concise introductions to the masterpieces, giving valuable contextual information * Enlarged ‘Detail’ images, allowing you to explore Ingres’ celebrated works in detail, as featured in traditional art books * Over 600 images in colour – highly recommended for viewing on tablets and smartphones or as a valuable reference tool on more conventional eReaders * Special chronological and alphabetical contents tables for the paintings * Easily locate the artworks you wish to view * Includes a wide selection of Ingres’ drawings * Features two bonus biographies – discover Ingres’ incredible life Please visit www.delphiclassics.com to browse through our range of exciting e-Art books CONTENTS: The Highlights The Envoys of Agamemnon (1801) Self Portrait (1804) Portrait of Mademoiselle Caroline Rivière (1805) Napoleon I on His Imperial Throne (1806) The Grande Baigneuse (1808) Oedipus and the Sphinx (1808) La Grande Odalisque (1814) Roger Freeing Angelica (1819) The Vow of Louis XIII (1824) The Apotheosis of Homer (1827) Portrait of Monsieur Bertin (1832) The Martyrdom of Saint Symphorian (1834) Odalisque with Slave (1839) The Illness of Antiochus (1840) Portrait of Comtesse d’Haussonville (1845) Portrait of the Princesse de Broglie (1853) The Source (1856) The Turkish Bath (1863) The Paintings The Complete Paintings Alphabetical List of Paintings The Drawings Selected Drawings The Biographies Jean Auguste Dominique Ingres by Emilia Francis Strong Dilke Ingres by A. J. Finberg Please visit www.delphiclassics.com to browse through our range of exciting titles or to buy the whole Art series as a Super Set
Author : Gary Tinterow,Geneviève Lacambre,Metropolitan Museum of Art (New York, N.Y.),Musée d'Orsay
Publisher : Metropolitan Museum of Art
Page : 610 pages
File Size : 51,6 Mb
Release : 2003
Category : Painting, French
ISBN : 9781588390400
Here approximately two hundred works by French and Spanish artists chart the development of this cultural influence and map a fascinating shift in the paradigm of painting, from Idealism to Realism, from Italy to Spain, from Renaissance to Baroque. Above all, these images demonstrate how direct contact with Spanish painting fired the imagination of nineteenth-century French artists and brought about the triumph of Realism in the 1860s, and with it a foundation for modern art."--BOOK JACKET.
Author : Jean-Auguste-Dominique Ingres
Publisher : Courier Corporation
Page : 54 pages
File Size : 54,7 Mb
Release : 1993-01-01
Category : Art
ISBN : 048627621X
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.
Author : A. J. Finberg
Publisher : FREDERICK A. STOKES CO.
Page : 100 pages
File Size : 45,9 Mb
Release : 19??
Category : Painters
ISBN : 8210379456XXX
Ingres JEAN-Auguste-Dominique Ingres was born on the 29th August 1778, at Montauban. A stranger birthplace for a great artist could hardly be found. All the passion not absorbed in the material cares of life there turns to fanaticism. Religious hatred runs high. The municipal elections are fought out on religious grounds. Protestant and Roman Catholic hate but do not know one another. Each family lives for itself and by itself. A visit is said to be considered as an indiscretion. And nature there does nothing to soften the heart or the manners of man. The soil is dusty on the surface and hard to dig. The local colour is sombre, the general aspect of things sad. In the cold, dull light the forms detach themselves without grace or sympathy. The people have squat, thick-set figures, with round heads and heavy jaws. Their souls are as sombre and hard as their faces. They have ardour, but it is all concentrated and suppressed, burning within them like a brazier without flames. They show an extreme eagerness for work and gain; a silent obstinacy is the leading trait of their character. Ingres’ mother belonged to these parts and to this race, and from her he seems to have derived a part of his stormy and inflexible, his unquiet and haughty genius. Ingres’ father came from Toulouse. Little more than three miles separate Toulouse from Montauban, but the chain of little hills which throws off, to the left, the river Garonne, and to the right the Tarn and the Aveyron, serves as the dividing line of two profoundly different regions and races. In contrast with the sterile and rocky regions of the North, the plains of Languedoc, with their great river and verdant meadows, seem a land of joy and enchantment. It was at Toulouse, with its courts of love, its floral fêtes, its contests of song and poetry, that Ingres’ father was born. If we may judge from the portrait which Ingres painted of him (it is preserved at the Museum of Montauban), his father must have been an uncommon man. As we see him in this portrait he has a fine forehead, with big black eyes, and a look full of frankness and penetration. The evidence of this portrait is confirmed by the following letter, written by Ingres towards the end of his life, to a gentleman who had asked him for information about his father:— “Sir,—Jean-Marie-Joseph Ingres was born at Toulouse (in 1734): his father, whom I saw in my childhood, was a master tailor; he lived to a great age. My father when he was very young entered the Academy of Toulouse. He had as master, I believe, M. Lucas, a celebrated sculptor, a professor of the said Academy. Later he went to Marseille, then settled at Montauban and married my mother, Anne Moulet, on 12th August 1777. He was very much loved and appreciated by the leading families of the city and by Mgr. de Breteuil, the Bishop of Montauban, of whom he made a large medallion in profile. This bishop employed my father a great deal at his palace and in his country house, situated near the city. “My father was born with a rare genius for the fine arts. I say the fine arts because he executed painting, sculpture, and even architecture with success. I saw him construct an important building in our principal street. “If M. Ingres had had the same advantages which he gave his son, of going to Paris to study under the greatest of our masters, he would have been the first artist of his time. My father, who drew perfectly, painted also in miniature. He also painted views of the country from nature.... “Nothing came amiss to him. In sculpture his work ranged from the sphinxes and figures of abbés reading, which were placed in gardens, to the colossal statues of Liberty which he was forced to improvise in our temples for the Republican fêtes. He made with the greatest facility ornaments of all kinds, with which he decorated most tastefully the buildings of his time.... Finally, he attracted everybody by his lovable character, his goodness, his eminently artistic tastes. Every one was anxious to enjoy his society. “He often went to Toulouse, his native place, to renew his strength, so to speak, in that large and beautiful city, almost as rich then in monuments of art as Rome, which it greatly resembles. He loved to find himself again with the friends of his youth, all distinguished artists. He took me often with him in these short journeys. “Without being a musician, my father adored music, and sang very well with a tenor voice. He gave me his taste for music and made me learn to play the violin. I succeeded well enough with it to be admitted into the orchestra of the Grand Theatre of Toulouse, where I played a concerto of Viotti with success....”