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1780 - 1867 • French • Painter • Romantic Classicist
"... drawing is the first of the virtues for a painter, it is the foundation, it is everything; a thing well drawn is always well enough painted." - Jean-Auguste-Dominique Ingres
Ingres studied in Jaques-Louis DAVID's studio. Then, having won the PRIX DE ROME, he went to Italy in 1806 and remained there for 18 years. Of the two theoretical currents that again divided artists' camps-drawing vs. painting ( or LINE vs. COLOR)-lngres allied himself with the drawing/line camp. That does not mean he was a poor colorist, as anyone looking at the skin and fabric tones of his famous Odalisque (1814) quickly realizes. Rather, it means that he was more interested in the contours of a form or figure. Art historians find numerous sources for Ingres's style, including the decorations on ARCHAIC Greek POTTERY. Decorations on such vases were LINEAR in the most basic sense of the term. Ingres told his students, "Study vases, it was with them that I began to understand the Greeks." RAPHAEL, another influence, was the master whom Ingres most admired. While working in a CLASSICAL vocabulary, Ingres was inevitably influenced by the ROMANTIC spirit of his time, a spirit intrigued with the exotic (odalisque is the Turkish word for "harem slave girl") and with emotional states. Though he did not express rousing, driving emotion in the manner of his acknowledged rival DELACROIX, Ingres was sensitive to the mood and character of his subject, as his portraits show. Romantic Classicist is the commonly used term to describe Ingres, in contrast to Delacroix, whose style was Romantic Baroque.
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