France, it was looked down upon by most of the British. They considered the style of art to be pornographic in nature and women who were caught viewing this artwork could stand have had their reputations called into question (Johnson). In “The Swing” by Jean-Honore Fragonard, we are presented with the seemingly innocent image of a lady being push on a swing with a gentleman laying in the bushes underneath her. While at first glance, it is hard to wonder why this painting done in the rococo style would
analytical eye, though, you not only see the image but you begin to hear the voice of the painter and of his time. This is what I hope to do, to feel and understand the mind of the painter Ingres when he painted Louis-Francois Bertin and Reynolds when he painted General John Burgoyne. In the portrait of Bertin, Ingres has captured on canvas a man who has never been pampered in his life. You feel by looking at him that this is a man who has worked for everything that he has ever received in his life.
of the enormous social pressure for women to become homemakers. The very fact that women in general were not given enough opportunities is demonstrated by what Marie Bracquemond, a student of the famous artist Jean Auguste Dominique Ingres, said in 1860, “The severity of Monsieur Ingres frightened me… because he doubted the courage and perseverance of a woman in the field of painting… He would assign to them only the painting of flowers, of fruits, of still life’s, portraits and genre scenes.”
Ranim Altamimi La Grande Odalisque ART 04 April 2014 Art Critique Description Lalla Essaydi creates a work of art that deals with the role of women in Islamic societies. Her, La Grande Odalisque, depicts a mysterious nude woman draped in a white sheet on a bed in what looks to be a white bedroom, her being the dominant figure of the composition. The woman’s pale skin covered in Arabic writing causes her to almost blend in with her surroundings, which are also full with flowing calligraphy. She
enchanting beauty and served as a model of high moral value. Sandro Botticelli’s painting The Birth of Venus shows Venus, the goddess of love, floating ashore on a scallop shell, arranging her hands and hair to hide, or maybe, enhance her sexuality. Jean Ingres’s Grande Odalisque depiction of a woman’s naked body turning away showed her eroticism and aloofness. Each of these art pieces shows the woman depicted in such a way to show her sexuality. The pose of the subjects is an iconography that is similar
they would be killed. The paintings, one created by Gustave Moreau and another by Jean-Auguste-Dominique Ingres were created in the same century, but carry many differences. Each painting is based on the same scene, so similarities are there. The first painting is by Gustave Moreau, and it was painted in 1864. The second painting is the older of the two and it was painted in 1808 by Jean-Auguste-Dominique Ingres. The first and second painting show many similarities such as they both show the Sphinx
Yuchen Cui AR360 ART HISTORY Prof. Winkler 23 April 2018 Analysis: La Princesse de Broglie by Jean Auguste Dominique Ingres La Princesse de Broglie (English name: Princesse de Broglie) is a 47 3/4 x 35 3/4 inch (121.3 x 90.8 cm) oil on canvas painting by the French Neoclassical artist Jean-Auguste- Dominique Ingres. It was completed between 1851 and 1853 and shows Joséphine-Éléonore- Marie-Pauline de Galard de Brassac de Béarn, known as Pauline, wife of Albert de Broglie, the 28th Prime Minister
however, they both represent something different. Diego Velasquez’s subject is none other than Venus- goddess of love, which was a common figure during the Baroque movement, along with her son Cupid propping up a mirror for her. The nude subject in Ingres’ painting is not known by name but she is a female slave of the harem, which is called an odalisque. Thus, giving the painting its name “La Grand Odalisque”. The odalisque in this painting is showing her back side and part of her breast, but her face
and Jean Auguste Dominique Ingres' Le Grande Odalisque, are two pieces that are apart of this history. The paintings are very similar, they both make use of the same medium, have the women nude in reclining positions, and incorporate them both staring at the audience, however they differ in art movements, tone, and artistic technique, the similarities and differences in both these paintings emphasize the vision of the world both Manet and Ingres lived in. Although both Manet and Ingres painted
19th Century Art During the 19th century, a great number of revolutionary changes altered forever the face of art and those that produced it. Compared to earlier artistic periods, the art produced in the 19th century was a mixture of restlessness, obsession with progress and novelty, and a ceaseless questioning, testing and challenging of all authority. Old certainties about art gave way to new ones and all traditional values, systems and institutions were subjected to relentless critical analysis
Napoleon’s rule was divine, purposeful, and somehow “meant by the Gods”, This work was done by Jean-Auguste-Dominique Ingres (1780-1867). Painted at the beginning of his career Napoleon I on His Imperial Throne (1806) is an aggrandized portrait of Napoleon enthroned. It is known that Ingres drew on classical sources, specifically an engraved Roman gem with a depiction of Jupiter for the pose of the piece. Ingres painted Napoleon as royalty in his coronation robes, with the sword and crown of
originally intended to practice law, which he studied for a time after finishing secondary school. In 1855, however, he enrolled at the famous School of Fine Arts, in Paris, where he studied under Louis Lamothe, a pupil of the classical painter Jean-Auguste-Dominique Ingres. In order to complement his art studies, Degas traveled extensively, including trips to Naples, Florence, and Rome (where he lived for three years), so that he could observe and copy the works of Renaissance masters like Sandro Botticelli
An Age of Reason, An Age of Passion The period following the Renaissance focused the human attention toward the beauty of nature. It was man’s turn to be part of the nature and not the other way around. The term picturesque—or “compared to a picture” as Michael Woods defines it — defines new characteristics of the art from this period. This period, “An Age of Reason, An Age of Passion,” had a dual nature—rational, responsive to reason, but also anti-rational, responsive to emotion. “Making
a similar theme. No matter the scene conveyed, his works appear mysterious and ominous. Why are his works depicted in this way? Why are the women in his works not portrayed in such a fashion as other artists of the time? Degas admired Jean-Auguste-Dominique Ingres, even though their works contrasted immensely. This is due to the obscurity inside of Degas’ mind. It was said that you would never want to meet Degas the person, but Degas the artist is incredible. What could have caused such a conflict
The Feminist Art Movement raised women’s status and the world’s awareness on gender equality through artworks that reflect women’s lives, feelings, and value. Through creativity, feminist artists invited the audience into their daily livings, to understand their strengths and efficiency, and to consider their needs and feelings. The movement expanded the traditional female role in society, such as housewives, to individuals with talents including artists, writers, the working class, and professionals
subjects, and an absence of movement. This piece although a great depiction of a biblical story, has yet to fully embrace many of the Baroque elements which in turn make it less engaging for the audience. Looking about 200 years later, Jean Auguste Dominique Ingres created the Virgil Reading the Aeneid to Augustus, Livia, and Octavia. Although this piece also shows the interaction of four people in a home-like setting, the overall feeling one senses is drastically different. This piece is more than
Aphrodite known as Venus of Milo, an accent of the Louvre’s Greek collection. Its second floor holds a wide variety of French drawings, sculptures, and paintings, among which the most famous is the titillating Turkish Bath, painted by Jean-Auguste-Dominique Ingres in the late eighteenth century. On the lower ground floor of the Sully wing lie some remnants of the medieval castle which was once the Louvre. The ground and lower floors of the Richelieu wing house the musée’s expansive collection of
Lequien (The Solomon R. Guggenheim Foundation). He was then enrolled in the Ecole des Beaux-Arts where he was taught by Henri Lehmann (The Solomon R. Guggenheim Foundation). Seurat was deeply influenced by his teacher who was a disciple of Jean-Auguste-Dominique Ingres (Pioch). Other influences in Seurat’s life included Rembrandt and Francisco de Goya. Much of the education that he received here resulted in his curiosity of the theory of contrasts (The Solomon R. Guggenheim Foundation). In 1879, Seurat
Influences on the Romantic Period Romanticism spawned in the late 18th century and flourished in the early and mid-19th century. Romanticism emphasized the irrational, the imaginative, the personal, the spontaneous, the emotional, the visionary, the transcendental, and the individual. Romanticism is often viewed as a rejection of the ideologies of Classicism and Neoclassicisms, namely calm, order, harmony, idealization, rationality and balance. Some characteristics of Romanticism include: emotion
Georges-Pierre Seurat was a French Post-Impressionist painter, as well as a fine draftsman. He was born and raised in a wealthy family in Paris on December 2, 1859. He lived a short life of thirty-one year of age, and in his time, Seurat not only invented his style of pointillism, but he also became the first Neo-Impressionist. In pointillism, Seurat used miniscule dots of various colors on a base color to produce the local color. This creates an optical mixture from afar for the viewer and makes