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Ingres Then And Now


Author : Adrian Rifkin
language : en
Publisher: Routledge
Release Date : 2005-06-20


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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.

Ingres And His Critics


Author : Andrew Carrington Shelton
language : en
Publisher: Cambridge University Press
Release Date : 2005-10-03


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The resulting fluctuation in Ingres's critical profile - between imperious chef d'ecole and persecuted artiste maudit - provides a new context in which to consider the formal qualities of his work, which likewise vacillate between academic banality and modernist bizzarerie."--BOOK JACKET.

Interdisciplinary Encounters


Author : Dana Arnold
language : en
Publisher: I.B.Tauris
Release Date : 2014-11-30


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Four decades of encounters with the visionary and esoteric work of Adrian Rifkin across the historical, aesthetic, conceptual and theoretical terrain of his thought and criticism are brought together in this extraordinary new collection. In Intersubjective Encounters, internationally renowned scholars working across a range of disciplines explore the uniquely Rifkinian question of interdisciplinarity in culture/visual studies. Close readings of specific artwork engage with aspects of Rifkin's work diverse as Parisian urban formation, queer theory, the breathless subject and the object of art history itself. As the authors reflect on how their own methodologies have interacted with Rifkin's, critical concepts are refigured and redeployed in an implicit argument for the value of Rifkin to teaching and learning, thinking and writing. Finally, Rifkin responds in a (non-)conclusion, unfolding his own travels through Marxism, feminism, psychoanalysis and queer theory.

Staging Empire Napoleon Ingres And David


Author :
language : en
Publisher: Penn State Press
Release Date :


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Portraits By Ingres


Author : Jean-Auguste-Dominique Ingres
language : en
Publisher: Metropolitan Museum of Art
Release Date : 1999-01-01


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Om portrætter af den franske maler Jean Auguste Dominique Ingres (1780-1867)

Ingres


Author : A. J. Finberg
language : en
Publisher: FREDERICK A. STOKES CO.
Release Date : 2015-04-14


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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....”

The Wrightsman Pictures


Author : Everett Fahy
language : en
Publisher: Metropolitan Museum of Art
Release Date : 2005-01-01


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This lavish catalogue presents 150 European paintings, pastels, and drawings from the late fifteenth to the mid-nineteenth century that have been given to the Metropolitan Museum by Mr. and Mrs. Charles Wrightsman or are still held in Mrs. Wrightsman’s private collection. These notable works were collected over the past four decades, many of them with the Museum in mind; some were purchased by the Museum through the Wrightsman Fund. Highlights of the book include masterpieces by Vermeer, El Greco, Rubens, Van Dyck, Georges de La Tour, Jacques-Louis David, and Caspar David Friedrich as well as numerous paintings by the eighteenth-century Venetian artists Canaletto, Guardi, and the Tiepolos, father and son, plus a dozen remarkable portrait drawings by Ingres. Each work is reproduced in color and is accompanied by a short essay.