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169-728: Charles Thévenin (12 July 1764 – 28 February 1838) was a neoclassical French painter, known for heroic scenes from the time of the French Revolution and First French Empire . Born in Paris , the son of a court architect, Charles studied painting at the Académie royale de peinture et de sculpture under François-André Vincent . Winning second prize in the prix de Rome for Joseph recognised by his brothers in 1789, he won first prize in 1791 for Regulus returns to Carthage . Thus he received his first commissions and in 1790 produced

338-402: A Pompeian-inspired central figure. Empire fabrics are damasks with a blue or brown background, satins with a green, pink or purple background, velvets of the same colors, brooches broached with gold or silver, and cotton fabrics. All of these were used in interiors for curtains, for covering certain furniture, for cushions or upholstery (leather was also used for upholstery). All Empire ornament

507-472: A dangerous territory of the Ottoman Empire , Neoclassicists' appreciation of Greek architecture was predominantly mediated through drawings and engravings which were subtly smoothed and regularized, "corrected" and "restored" monuments of Greece, not always consciously. The Empire style , a second phase of Neoclassicism in architecture and the decorative arts , had its cultural centre in Paris in

676-675: A delicate bas-relief. His residence in Rome was postponed until 1806 due to shortage of state funds. In the meantime he worked in Paris alongside several other students of David in a studio provided by the state, and further developed a style that emphasized purity of contour. He found inspiration in the works of Raphael, in Etruscan vase paintings, and in the outline engravings of the English artist John Flaxman . His drawings of Hermaphrodite and

845-534: A direct parallel with the Augustan style of landscape design. The links are clearly seen in the work of Alexander Pope . The best surviving examples of Neoclassical English gardens are Chiswick House , Stowe House and Stourhead . In fashion, Neoclassicism influenced the much greater simplicity of women's dresses, and the long-lasting fashion for white, from well before the French Revolution, but it

1014-528: A few months after the painting was completed in 1842, Ingres received commissions to make additional copies. He also received a commission to design seventeen stained glass windows for the chapel on the place where the accident occurred, and a commission for eight additional stained-glass designs for Orléans chapel in Dreux. He became a professor at the Ecole des Beaux-Arts in Paris. He took his students frequently to

1183-603: A fresh influx of Greek architectural examples, seen through the medium of etchings and engravings, gave a new impetus to Neoclassicism, the Greek Revival . At the same time the Empire style was a more grandiose wave of Neoclassicism in architecture and the decorative arts. Mainly based on Imperial Roman styles, it originated in, and took its name from, the rule of Napoleon in the First French Empire, where it

1352-566: A giant canvas which celebrated all the great artists of history, intended to decorate the ceiling of one of the halls of the Museum Charles X at the Louvre. Ingres was unable to finish the work in time for the 1827 Salon, but displayed the painting in grisaille . The 1827 Salon became a confrontation between the neoclassicism of Ingres's Apotheosis and a new manifesto of romanticism by Delacroix, The Death of Sardanapalus . Ingres joined

1521-426: A lack of ancient models, Neoclassical sculpture tended to suffer from an excess of them. Although examples of actual Greek sculpture of the " Classical Period " beginning in about 500 BC were then very few; the most highly regarded works were mostly Roman copies. The leading Neoclassical sculptors enjoyed huge reputations in their own day, but are now less regarded, with the exception of Jean-Antoine Houdon , whose work

1690-647: A larger painting of the back of a nude bather, and the first Ingres model to wear a turban, a detail he borrowed from the Fornarina by his favourite painter, Raphael . To satisfy the Academy in Paris, he also dispatched Oedipus and the Sphinx to show his mastery of the male nude. The verdict of the academicians in Paris was that the figures were not sufficiently idealized. In later years Ingres painted several variants of these compositions; another nude begun in 1807,

1859-558: A lightness and grace, where Thorvaldsen is more severe; the difference is exemplified in their respective groups of the Three Graces . All these, and Flaxman, were still active in the 1820s, and Romanticism was slow to impact sculpture, where versions of Neoclassicism remained the dominant style for most of the 19th century. An early Neoclassicist in sculpture was the Swede Johan Tobias Sergel . John Flaxman

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2028-414: A line so flawless, an attention to detail so thorough, has M. Ingres succeeded in painting a bad picture? The answer is that he wanted to do something singular, something extraordinary ... M. Ingres's intention is nothing less than to make art regress by four centuries, to carry us back to its infancy, to revive the manner of Jean de Bruges . Newly arrived in Rome, Ingres read with mounting indignation

2197-460: A lock plate, etc. Like Louis XIV , Napoleon had a set of emblems unmistakably associated with his rule, most notably the eagle, the bee, stars, and the initials I (for Imperator ) and N (for Napoleon ), which were usually inscribed within an imperial laurel crown. Motifs used include: figures of Victory bearing palm branches, Greek dancers, nude and draped women, figures of antique chariots, winged putti , mascarons of Apollo , Hermes and

2366-399: A long time, until the 20th century, although it coexisted in some short periods with other styles. Foreign architects and engineers were invited here since the first decade of the 19th century. Most of the architects that built during the beginning of the century were foreigners because Romanians did not have yet the instruction needed for designing buildings that were very different compared to

2535-592: A mature style that has an equivocal relationship with the main current of Neoclassicism, and many later diversions into Orientalism and the Troubadour style that are hard to distinguish from those of his unabashedly Romantic contemporaries, except by the primacy his works always give to drawing. He exhibited at the Salon for over 60 years, from 1802 into the beginnings of Impressionism , but his style, once formed, changed little. If Neoclassical painting suffered from

2704-714: A member of the Imperial Council on Public Instruction. Three of his works were shown in the London International Exhibition, and his reputation as a major French painter was confirmed once more. He continued to rework and refine his classic themes. In 1856 Ingres completed The Source (The Spring), a painting begun in 1820 and closely related to his Venus Anadyoméne . He painted two versions of Louis XIV and Molière (1857 and 1860), and produced variant copies of several of his earlier compositions. These included religious works in which

2873-520: A modest family in Montauban , he travelled to Paris to study in the studio of David . In 1802 he made his Salon debut, and won the Prix de Rome for his painting The Ambassadors of Agamemnon in the tent of Achilles . By the time he departed in 1806 for his residency in Rome, his style—revealing his close study of Italian and Flemish Renaissance masters—was fully developed, and would change little for

3042-573: A new French "national costume" at the request of the government during the height of the Revolutionary enthusiasm for changing everything in 1792, it included fairly tight leggings under a coat that stopped above the knee. A high proportion of well-to-do young men spent much of the key period in military service because of the French Revolutionary Wars , and military uniform, which began to emphasize jackets that were short at

3211-547: A painter and musician, before leaving for Rome in September. Although he had hoped to stay in Paris long enough to witness the opening of that year's Salon, in which he was to display several works, he reluctantly left for Italy just days before the opening. Ingres painted a new portrait of Napoleon for presentation at the 1806 Salon, this one showing Napoleon on the Imperial Throne for his coronation. This painting

3380-575: A painting of the Duke receiving papal honours for his repression of the Protestant Reformation . Ingres loathed the subject—he regarded the Duke as one of history's brutes—and struggled to satisfy both the commission and his conscience. After revisions which eventually reduced the Duke to a tiny figure in the background, Ingres left the work unfinished. He entered in his diary, "J'etais forcé par la necessité de peindre un pareil tableau; Dieu

3549-523: A portrait of the French ambassador to Rome, Monsignor Gabriel Cortois de Pressigny. The only other prints he is known to have executed are two lithographs : The Four Magistrates of Besançon , made as an illustration for Baron Taylor 's Voyages pittoresques et romantiques dans l'ancienne France , and a copy of La Grande Odalisque , both in 1825. In 1817 the Count of Blacas , who was ambassador of France to

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3718-570: A relative of his friend Marcotte d'Argenteuil. Ingres was rejuvenated, and in the decade that followed he completed several significant works, including the portrait of Princesse Albert de Broglie , née Joséphine-Eléonore-Marie-Pauline de Galard de Brassac de Béarn . In 1853 he began the Apotheosis of Napoleon I , for the ceiling of a hall in the Hôtel de Ville, Paris . (It was destroyed in May 1871 when

3887-608: A religious work ( Virgin with the Blue Veil ). In August 1820, with the help of de Pastoret, he received a commission for a major religious painting for the Cathedral of Montauban. The theme was the re-establishment of the bond between the church and the state. Ingres's painting, The Vow of Louis XIII (1824), inspired by Raphael, was purely in the Renaissance style, and depicted King Louis XIII vowing to dedicate his reign to

4056-428: A rival, Paul Delaroche , who refused it. He did complete a small number of works which he sent to patrons in Paris. One was L'Odalisque et l'esclave , (1839), a portrait of a blonde odalisque, or member of a harem, who reclines languorously while a turbaned musician plays. This fitted into the popular genre of orientalism; his rival Eugène Delacroix had created a painting on a similar theme, Les Femmes d'Alger , for

4225-617: A scandal long after Ingres was dead. It was initially offered to the Louvre in 1907, but was rejected, before being given to the Louvre in 1911. Ingres died of pneumonia on 14 January 1867, at the age of eighty-six, in his apartment on the Quai Voltaire in Paris. He is interred in the Père Lachaise Cemetery in Paris with a tomb sculpted by his student Jean-Marie Bonnassieux . The contents of his studio, including

4394-463: A similar structure to Louis XVI furniture . Besides the Adam style, when it comes to decorative arts, England is also known for the ceramic manufacturer Josiah Wedgwood (1730–1795), who established a pottery called Etruria. Wedgwood ware is made of a material called jasperware , a hard and fine-grained type of stoneware . Wedgwood vases are usually decorated with reliefs in two colours, in most cases

4563-450: A specifically Neoclassical approach, spelt out in his preface to the published score of Alceste (1769), which aimed to reform opera by removing ornamentation , increasing the role of the chorus in line with Greek tragedy , and using simpler unadorned melodic lines. The term "Neoclassical" was not invented until the mid-19th century, and at the time the style was described by such terms as "the true style", "reformed" and "revival"; what

4732-443: A study after an antique cast, was made in 1789. Starting in 1786, he attended the local school École des Frères de l'Éducation Chrétienne, but his education was disrupted by the turmoil of the French Revolution , and the closing of the school in 1791 marked the end of his conventional education. The deficiency in his schooling would always remain for him a source of insecurity. In 1791, Joseph Ingres took his son to Toulouse , where

4901-540: A substitute model, as Winckelmann recommended. The work of other artists, who could not easily be described as insipid, combined aspects of Romanticism with a generally Neoclassical style, and form part of the history of both movements. The German-Danish painter Asmus Jacob Carstens finished very few of the large mythological works that he planned, leaving mostly drawings and colour studies which often succeed in approaching Winckelmann's prescription of "noble simplicity and calm grandeur". Unlike Carstens' unrealized schemes,

5070-518: A tendency toward exaggeration in his studies, everyone was struck by his grand compositions and recognized his talent. He was admitted to the painting department of the École des Beaux-Arts in October 1799. In 1800 and 1801, he won the grand prize for figure painting for his paintings of male torsos. In 1800 and 1801, he competed for the Prix de Rome, the highest prize of the Academy, which entitled

5239-565: A tour of the Palace. He was offered a commission to paint a portrait of the Duke, the heir to the throne, and another from the Duc de Lunyes to create two huge murals for the Château de Dampierre . In April 1841 he returned definitively to Paris. One of the first works executed after his return to Paris was a portrait of the duc d'Orléans. After the heir to the throne was killed in a carriage accident

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5408-467: A trajectory from growth to maturity and then imitation or decadence that continues to have influence to the present day. Winckelmann believed that art should aim at "noble simplicity and calm grandeur", and praised the idealism of Greek art, in which he said we find "not only nature at its most beautiful but also something beyond nature, namely certain ideal forms of its beauty, which, as an ancient interpreter of Plato teaches us, come from images created by

5577-417: A variety of neo-Renaissance, Palladian and modernized, yet recognizably classical schools. They were led by architects born in the 1870s, who reached creative peak before World War I, like Ivan Fomin , Vladimir Shchuko and Ivan Zholtovsky . When the economy recovered in the 1920s, these architects and their followers continued working in primarily modernist environment; some (Zholtovsky) strictly followed

5746-525: A voulu qu'il reste en ebauche." ("I was forced by need to paint such a painting; God wanted it to remain a sketch.") He continued to send works to the Salon in Paris, hoping to make his breakthrough there. In 1819 he sent his reclining nude, La Grande Odalisque , as well as a history painting, Philip V and the Marshal of Berwick , and Roger Freeing Angelica , based on an episode in the 16th-century epic poem Orlando Furioso by Ariosto but his work

5915-699: A wealthy patron of the arts, asked him to decorate rooms of the Monte Cavallo Palace, a former papal residence, for an expected visit of Napoleon. Ingres painted a large-scale Romulus' Victory Over Acron (1811) for the salon of the Empress and The Dream of Ossian (1813), based on a book of poems that Napoleon admired, for the ceiling of the Emperor's bedroom. General Miollis also commissioned Ingres to paint Virgil reading The Aeneid before Augustus, Livia and Octavia (1812) for his own residence,

6084-414: A white background or a coloured one). Motifs were placed geometrically. The walls were covered in stuccos , wallpaper fabrics. Fireplace mantels were made of white marble, having caryatids at their corners, or other elements: obelisks , sphinxes , winged lions, and so on. Bronze objects were placed on their tops, including mantel clocks . The doors consisted of simple rectangular panels, decorated with

6253-467: Is based on the principles of simplicity and symmetry, which were seen as virtues of the arts of Ancient Rome and Ancient Greece , and drawn directly from 16th-century Renaissance Classicism . Each "neo"-classicism movement selects some models among the range of possible classics that are available to it, and ignores others. Between 1765 and 1830, Neoclassical proponents—writers, speakers, patrons, collectors, artists and sculptors—paid homage to an idea of

6422-475: Is called Augustan literature . This, which had been dominant for several decades, was beginning to decline by the time Neoclassicism in the visual arts became fashionable. Though terms differ, the situation in French literature was similar. In music, the period saw the rise of classical music , and "Neoclassicism" is used of 20th-century developments . However, the operas of Christoph Willibald Gluck represented

6591-467: Is estimated to have made some five hundred portrait drawings, including portraits of his famous friends. His friends included many musicians including Paganini , and he regularly played the violin with others who shared his enthusiasm for Mozart , Haydn , Gluck , and Beethoven . He also produced a series of small paintings in what was known as the Troubador style , idealized portrayals of events in

6760-495: Is governed by a rigorous spirit of symmetry reminiscent of the Louis XIV style . Generally, the motifs on a piece's right and left sides correspond to one another in every detail; when they do not, the individual motifs themselves are entirely symmetrical in composition: antique heads with identical tresses falling onto each shoulder, frontal figures of Victory with symmetrically arrayed tunics, identical rosettes or swans flanking

6929-545: Is in the Royal Museums of Fine Arts of Belgium in Brussels, and in 1825 he made a chalk drawing in vertical format as a model for a reproductive engraving made by Pradier in 1832. The General Miollis version was repurchased by Ingres in the 1830s, reworked by assistants under Ingres's direction, and never finished; The Dream of Ossian was likewise repurchased, modified, but left unfinished. He traveled to Naples in

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7098-576: Is more classicizing in subject matter than in anything else. A fierce, but often very badly informed, dispute raged for decades over the relative merits of Greek and Roman art, with Winckelmann and his fellow Hellenists generally being on the winning side. It is hard to recapture the radical and exciting nature of early Neoclassical painting for contemporary audiences; it now strikes even those writers favourably inclined to it as "insipid" and "almost entirely uninteresting to us"—some of Kenneth Clark 's comments on Anton Raphael Mengs ' ambitious Parnassus at

7267-432: Is the Știrbei Palace on Calea Victoriei ( Bucharest ), built around the year 1835, after the plans of French architect Michel Sanjouand . It received a new level in 1882, designed by Austrian architect Joseph Hartmann In 1905–1914 Russian architecture passed through a brief but influential period of Neoclassical revival ; the trend began with recreation of Empire style of Alexandrine period and quickly expanded into

7436-732: The Goût grec ("Greek style"), not a court style; when Louis XVI acceded to the throne in 1774, Marie Antoinette , his fashion-loving Queen, brought the Louis XVI style to court. However, there was no real attempt to employ the basic forms of Roman furniture until around the turn of the century, and furniture-makers were more likely to borrow from ancient architecture, just as silversmiths were more likely to take from ancient pottery and stone-carving than metalwork: "Designers and craftsmen ... seem to have taken an almost perverse pleasure in transferring motifs from one medium to another". From about 1800

7605-527: The Venus Anadyomene , remained in an unfinished state for decades, to be completed forty years later and finally exhibited in 1855. During his time in Rome he also painted numerous portraits: Madame Duvaucey (1807), François-Marius Granet (1807), Joseph-Antoine Moltedo (1810), Madame Panckoucke (1811), and Charles-Joseph-Laurent Cordier (1811). In 1812 he painted one of his few portraits of an older woman, Comtesse de Tournon , mother of

7774-495: The French Academy in Rome in 1835. He returned to Paris for good in 1841. In his later years he painted new versions of many of his earlier compositions, a series of designs for stained glass windows, several important portraits of women, and The Turkish Bath , the last of his several Orientalist paintings of the female nude, which he finished at the age of 83. Ingres was born in Montauban , Tarn-et-Garonne , France,

7943-548: The Golden Age and the Iron Age , illustrating the origins of art. He made more than five hundred preparatory drawings, and worked on the enormous project for six years. In an attempt to imitate the effect of Renaissance frescos , he chose to paint the murals in oil on plaster, which created technical difficulties. Work on the Iron Age never progressed beyond the architectural background painted by an assistant. Meanwhile,

8112-656: The Gorgon , swans, lions, the heads of oxen, horses and wild beasts, butterflies, claws, winged chimeras , sphinxes , bucrania , sea horses, oak wreaths knotted by thin trailing ribbons, climbing grape vines, poppy rinceaux , rosettes , palm branches, and laurel. There's a lot of Greco-Roman ones: stiff and flat acanthus leaves, palmettes , cornucopias , beads, amphoras , tripods, imbricated disks, caduceuses of Mercury , vases, helmets, burning torches, winged trumpet players, and ancient musical instruments (tubas, rattles and especially lyres ). Despite their antique derivation,

8281-594: The Holy See , provided Ingres with his first official commission since 1814, for a painting of Christ Giving the Keys to Peter . Completed in 1820, this imposing work was well received in Rome but to the artist's chagrin the ecclesiastical authorities there would not permit it to be sent to Paris for exhibition. A commission came in 1816 or 1817 from the descendants of the Fernando Álvarez de Toledo, Duke of Alva , for

8450-538: The July Monarchy . Ingres exhibited in the Salon of 1833, where his portrait of Louis-François Bertin (1832) was a particular success. The public found its realism spellbinding, although some of the critics declared its naturalism vulgar and its colouring drab. In 1834 he finished a large religious painting, The Martyrdom of Saint Symphorian , which depicted the first saint to be martyred in Gaul. The painting

8619-572: The Macchiaioli represented a break with the classical school, which came to an end as Italy unified (see Italian modern and contemporary art). Neoclassicism was the last Italian-born style, after the Renaissance and Baroque, to spread to all Western Art. During the 19th century, the predominant style in Wallachia and Moldavia , later the Kingdom of Romania , was Classicism which lasted for

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8788-540: The Napoleonic era . Especially in architecture, but also in other fields, Neoclassicism remained a force long after the early 19th century, with periodic waves of revivalism into the 20th and even the 21st centuries, especially in the United States and Russia. Neoclassicism is a revival of the many styles and spirit of classic antiquity inspired directly from the classical period, which coincided and reflected

8957-653: The Paris Commune set fire to the building.) With the help of assistants, in 1854 he completed another history painting, Joan of Arc at the Coronation of Charles VII . A retrospective of his works was featured at the Paris Universal Exposition of 1855 , and in the same year Napoleon III named him a Grand Officer of the Légion d'honneur . In 1862 he was awarded the title of Senator, and made

9126-523: The Portrait of Philipbert Riviére (1805), Portrait of Sabine Rivière (1805–06), Portrait of Madame Aymon (also known as La Belle Zélie ; 1806), and Portrait of Caroline Rivière (1805–06). The female faces were not at all detailed but were softened, and were notable for their large oval eyes and delicate flesh colours and their rather dreamlike expressions. His portraits typically had simple backgrounds of solid dark or light colour, or of sky. These were

9295-494: The Villa Albani , by the artist whom his friend Winckelmann described as "the greatest artist of his own, and perhaps of later times". The drawings, subsequently turned into prints , of John Flaxman used very simple line drawing (thought to be the purest classical medium ) and figures mostly in profile to depict The Odyssey and other subjects, and once "fired the artistic youth of Europe" but are now "neglected", while

9464-729: The etchings of Giovanni Battista Piranesi were numerous and profitable, and taken back by those making the Grand Tour to all parts of Europe. His main subject matter was the buildings and ruins of Rome, and he was more stimulated by the ancient than the modern. The somewhat disquieting atmosphere of many of his Vedute (views) becomes dominant in his series of 16 prints of Carceri d'invenzione ("Imaginary Prisons") whose "oppressive cyclopean architecture" conveys "dreams of fear and frustration". The Swiss-born Henry Fuseli spent most of his career in England, and while his fundamental style

9633-489: The fluting and triglyphs so prevalent under Louis XVI are abandoned. Egyptian Revival motifs are especially common at the beginning of the period: scarabs , lotus capitals , winged disks, obelisks, pyramids , figures wearing nemeses , caryatids en gaine supported by bare feet and with women Egyptian headdresses. Neoclassical architecture became widespread as a symbol of wealth and power in Germany, mostly in what

9802-463: The history paintings of Angelica Kauffman , mainly a portraitist, are described as having "an unctuous softness and tediousness" by Fritz Novotny . Rococo frivolity and Baroque movement had been stripped away but many artists struggled to put anything in their place, and in the absence of ancient examples for history painting, other than the Greek vases used by Flaxman, Raphael tended to be used as

9971-491: The 1834 Salon. The setting was inspired by Persian miniatures and was full of exotic detail, but the woman's long reclining form was pure Ingres. The critic Théophile Gautier wrote of Ingres's work: "It is impossible to better paint the mystery, the silence and the suffocating atmosphere of the seraglio." In 1842 he painted a second version, nearly identical to the first but with a landscape background (painted by his student Paul Flandrin ). The second painting he sent, in 1840,

10140-595: The 19th century, contrasted Neoclassicism. Whilst Neoclassicism was characterized by Greek and Roman-influenced styles, geometric lines and order, Gothic revival architecture placed an emphasis on medieval-looking buildings, often made to have a rustic, "romantic" appearance. It marks the transition from Rococo to Classicism. Unlike the Classicism of Louis XIV , which transformed ornaments into symbols, Louis XVI style represents them as realistic and natural as possible, i.e. laurel branches really are laurel branches, roses

10309-460: The Academy collection, and assisted the students in getting public commissions in both Rome and Paris. He traveled to Orvieto (1835), Siena (1835), and to Ravenna and Urbino to study the paleochristian mosaics, medieval murals and Renaissance art. He devoted considerable attention to music, one of the subjects of the academy; he welcomed Franz Liszt and Fanny Mendelssohn . He formed a long friendship with Liszt. Composer Charles Gounod , who

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10478-615: The Empire marks its rapid decline and transformation back once more into a mere antique revival, drained of all the high-minded ideas and force of conviction that had inspired its masterpieces". An earlier phase of the style was called the Adam style in Great Britain. Neoclassicism continued to be a major force in academic art through the 19th century and beyond—a constant antithesis to Romanticism or Gothic revivals —, although from

10647-790: The Federal style, has developed completely in the 18th and early 19th centuries, which has flourished being influenced by Britannic taste. Under the impulse of Neoclassicism, architecture, interiors, and furniture have been created. The style, although it has numerous characteristics which differ from state to state, is unitary. The structures of architecture, interiors, and furniture are Classicist, and incorporate Baroque and Rococo influences. The shapes used include rectangles, ovals, and crescents. Stucco or wooden panels on walls and ceilings reproduce Classicist motifs. Furniture tend to be decorated with floral marquetry and bronze or brass inlays (sometimes gilded ). In England, Augustan literature had

10816-455: The Great 's lover, Count Grigory Orlov , designed by an Italian architect with a team of Italian stuccadori : only the isolated oval medallions like cameos and the bas-relief overdoors hint of Neoclassicism; the furnishings are fully Italian Rococo. A second Neoclassic wave, more severe, more studied (through the medium of engravings ) and more consciously archaeological, is associated with

10985-856: The Louis XIV style, and nature. Characteristic elements of the style: a torch crossed with a sheath with arrows, imbricated disks, guilloché , double bow-knots, smoking braziers, linear repetitions of small motifs ( rosettes , beads, oves), trophy or floral medallions hanging from a knotted ribbon, acanthus leaves, gadrooning , interlace, meanders , cornucopias , mascarons , Ancient urns, tripods, perfume burners, dolphins, ram and lion heads, chimeras , and gryphons . Greco-Roman architectural motifs are also heavily used: flutings , pilasters (fluted and unfluted), fluted balusters (twisted and straight), columns ( engaged and unengaged, sometimes replaced by caryathids ), volute corbels , triglyphs with guttae (in relief and trompe-l'œil ). Neoclassicism

11154-510: The Louvre to the see the classical and Renaissance art, instructing them to look straight ahead and to avoid the works of Rubens , which he believed deviated too far from the true values of art. The Revolution of 1848, which overthrew Louis Philippe and created the French Second Republic , had little effect on his work or his ideas. He declared that the revolutionaries were "cannibals who called themselves French", but during

11323-620: The Louvre were also masterpieces of Flemish art, including the Ghent Altarpiece by Jan van Eyck , which the French army had seized during its conquest of Flanders. The precision of Renaissance Flemish art became part of Ingres's style. Ingres's stylistic eclecticism represented a new tendency in art. The Louvre, newly filled with booty seized by Napoleon in his campaigns in Italy and the Low Countries , provided French artists of

11492-549: The Middle Ages and Renaissance. In 1815 he painted Aretino and Charles V's Ambassador as well as Aretino and Tintoretto , an anecdotal painting whose subject, a painter brandishing a pistol at his critic, may have been especially satisfying to the embattled Ingres. Other paintings in the same style included Henry IV Playing with His Children (1817) and the Death of Leonardo . In 1816 Ingres produced his only etching ,

11661-443: The Nymph Salmacis showed a new stylized ideal of female beauty, which would reappear later in his Jupiter et Thetis and his famous nudes. In 1802 he made his debut at the Salon with Portrait of a Woman (the current whereabouts of which is unknown). Between 1804 and 1806 he painted a series of portraits which were striking for their extreme precision, particularly in the richness of their fabrics and tiny details. These included

11830-475: The Paris market Les Halles . The central figure was an ethereal woman in white, whose contemplative pose with her hand on her chin recurs in some of Ingres's female portraits. His painting of Aniochius and Stratonice, despite its small size, just one meter, was a major success for Ingres. In August it was shown in the private apartment of the duc d'Orléans in the Pavilion Marsan of the Palais des Tuileries. The King greeted him personally at Versailles and gave him

11999-416: The Revolution completed his Venus Anadyomene , which he had started as an academic study in 1808. It represented Venus, rising from the sea which had given birth to her, surrounded by cherubs. He welcomed the patronage of the new government of Louis-Napoleon, who in 1852 became Emperor Napoleon III . In 1843 Ingres began the decorations of the great hall in the Château de Dampierre with two large murals,

12168-577: The Revolution, the court portraitist Louise Élisabeth Vigée Le Brun had held a Greek supper where the ladies wore plain white Grecian tunics. Shorter classical hairstyles, where possible with curls, were less controversial and very widely adopted, and hair was now uncovered even outdoors; except for evening dress, bonnets or other coverings had typically been worn even indoors before. Thin Greek-style ribbons or fillets were used to tie or decorate

12337-448: The Revolutionary period, and perhaps, like other exotic styles, as undress at home. But the styles worn in portraits by Juliette Récamier , Joséphine de Beauharnais , Thérésa Tallien and other Parisian trend-setters were for going-out in public as well. Seeing Mme Tallien at the opera, Talleyrand quipped that: " Il n'est pas possible de s'exposer plus somptueusement! " ("One could not be more sumptuously undressed"). In 1788, just before

12506-595: The Romanian tradition. Usually using Classicism, they started building together with Romanian artisans, usually prepared in foreign schools or academies. Romanian architects studied in Western European schools as well. One example is Alexandru Orăscu , one of the representatives of Neoclassicism in Romania. Classicism manifested both in religious and secular architecture. A good example of secular architecture

12675-896: The Ruins of Palmyra (1758) by Gavin Hamilton , the two gentleman antiquaries are shown in toga -like Arab robes. In Watson and the Shark (1778) by John Singleton Copley , the main figure could plausibly be shown nude, and the composition is such that of the eight other men shown, only one shows a single breeched leg prominently. However the Americans Copley and Benjamin West led the artists who successfully showed that trousers could be used in heroic scenes, with works like West's The Death of General Wolfe (1770) and Copley's The Death of Major Peirson, 6 January 1781 (1783), although

12844-485: The Salon and to confound them with my works, which don't in any way resemble theirs; and the more I advance, the less their work will resemble mine." He vowed never again to exhibit at the Salon, and his refusal to return to Paris led to the breaking up of his engagement. Julie Forestier, when asked years later why she had never married, responded, "When one has had the honor of being engaged to M. Ingres, one does not marry." On 23 November 1806, he wrote to Jean Forestier,

13013-659: The Salon in 1824, when his Raphaelesque painting, The Vow of Louis XIII , was met with acclaim, and Ingres was acknowledged as the leader of the Neoclassical school in France. Although the income from commissions for history paintings allowed him to paint fewer portraits, his Portrait of Monsieur Bertin marked his next popular success in 1833. The following year, his indignation at the harsh criticism of his ambitious composition The Martyrdom of Saint Symphorian caused him to return to Italy, where he assumed directorship of

13182-490: The Salon or submitted his work for public judgement. Instead, at the end of 1834 he returned to Rome to become the Director of the Academy of France. Ingres remained in Rome for six years. He devoted much of his attention to the training of the painting students, as he was later to do at the École des Beaux-Arts in Paris. He re-organized the Academy, increased the size of the library, added many molds of classical statues to

13351-540: The United States did not have a sculpture tradition of its own, save in the areas of tombstones, weathervanes and ship figureheads, the European Neoclassical manner was adopted there, and it was to hold sway for decades and is exemplified in the sculptures of Horatio Greenough , Harriet Hosmer , Hiram Powers , Randolph Rogers and William Henry Rinehart . Neoclassical art was traditional and new, historical and modern, conservative and progressive all at

13520-691: The Virgin Mary. This was perfectly in tune with the doctrine of the new government of the Restoration. He spent four years bringing the large canvas to completion, and he took it to the Paris Salon in October 1824, where it became the key that finally opened the door of the Paris art establishment and to his career as an official painter. The Vow of Louis XIII in the Salon of 1824 finally brought Ingres critical success. Although Stendhal complained about "the sort of material beauty which excludes

13689-575: The academy's director from 1816 to 1823. On his return to Paris, he was elected a member of the Académie des Beaux-Arts in 1825, then named Conservateur of the Cabinet des estampes in the Bibliothèque nationale . Neoclassicism European Neoclassicism in the visual arts began c.  1760 in opposition to the then-dominant Rococo style. Rococo architecture emphasizes grace, ornamentation and asymmetry; Neoclassical architecture

13858-466: The advent of the Grand Tour , a fad of collecting antiquities began that laid the foundations of many great collections spreading a Neoclassical revival throughout Europe. "Neoclassicism" in each art implies a particular canon of a "classical" model. In English, the term "Neoclassicism" is used primarily of the visual arts; the similar movement in English literature , which began considerably earlier,

14027-472: The artistic generation associated with Phidias , but sculpture examples they actually embraced were more likely to be Roman copies of Hellenistic sculptures. They ignored both Archaic Greek art and the works of late antiquity . The discovery of ancient Palmyra 's "Rococo" art through engravings in Robert Wood 's The Ruins of Palmyra came as a revelation. With Greece largely unexplored and considered

14196-525: The battle with enthusiasm; he called Delacroix "the apostle of ugliness" and told friends that he recognized "the talent, the honorable character and distinguished spirit" of Delacroix, but that "he has tendencies which I believe are dangerous and which I must push back." Despite the considerable patronage he enjoyed under the Bourbon government, Ingres welcomed the July Revolution of 1830. That

14365-451: The beginning of a series that would make him among the most celebrated portrait artists of the 19th century. As Ingres waited to depart to Rome, his friend Lorenzo Bartolini introduced him to Italian Renaissance paintings, particularly the works of Bronzino and Pontormo , which Napoleon had brought back from his campaign in Italy and placed in the Louvre . Ingres assimilated their clarity and monumentality into his own portrait style. In

14534-484: The beginning of his career, Ingres freely borrowed from earlier art, adopting the historical style appropriate to his subject, and was consequently accused by critics of plundering the past. In 1803 he received a prestigious commission, being one of five artists selected (along with Jean-Baptiste Greuze , Robert Lefèvre , Charles Meynier, and Marie-Guillemine Benoist ) to paint full-length portraits of Napoleon Bonaparte as First Consul . These were to be distributed to

14703-499: The building From the second half of the 18th century through the 19th century, Italy went through a great deal of socio-economic changes, several foreign invasions and the turbulent Risorgimento, which resulted in Italian unification in 1861. Thus, Italian art went through a series of minor and major changes in style. Italian Neoclassicism was the earliest manifestation of the general period known as Neoclassicism and lasted more than

14872-488: The chapel of Bizy . He painted small replicas of Paolo and Francesca and Oedipus and the Sphinx . In 1862 he completed a small oil-on-paper version of The Golden Age . The last of his important portrait paintings date from this period: Marie-Clothilde-Inés de Foucauld, Madame Moitessier, Seated (1856), Self-Portrait at the Age of Seventy-eight and Madame J.-A.-D. Ingres, née Delphine Ramel , both completed in 1859. At

15041-612: The classical canon, others (Fomin, Schuko, Ilya Golosov ) developed their own modernized styles. With the crackdown on architect's independence and official denial of modernism (1932), demonstrated by the international contest for the Palace of Soviets , Neoclassicism was instantly promoted as one of the choices in Stalinist architecture , although not the only choice. It coexisted with moderately modernist architecture of Boris Iofan , bordering with contemporary Art Deco (Schuko); again,

15210-400: The classical models. Neoclassicism and neo-Renaissance persisted in less demanding residential and office projects until 1955, when Nikita Khrushchev put an end to expensive Stalinist architecture. The Adam style was created by two brothers, Adam and James , who published in 1777 a volume of etchings with interior ornamentation. In the interior decoration made after Robert Adam's drawings,

15379-513: The collapse of the Murat regime and execution of Joachim Murat in 1815. With the fall of Napoleon's dynasty, he found himself essentially stranded in Rome without patronage. He continued to produce masterful portraits, in pencil and oils, of almost photographic precision; but with the departure of the French administration, the painting commissions were rare. During this low point of his career, Ingres augmented his income by drawing pencil portraits of

15548-400: The country and devoted himself to the highly distinctive "character heads" of bald figures pulling extreme facial expressions. Like Piranesi's Carceri , these enjoyed a great revival of interest during the age of psychoanalysis in the early 20th century. The Dutch Neoclassical sculptor Mathieu Kessels studied with Thorvaldsen and worked almost exclusively in Rome. Since prior to the 1830s

15717-817: The decorative arts, Neoclassicism is exemplified in Empire furniture made in Paris, London, New York, Berlin; in Biedermeier furniture made in Austria; in Karl Friedrich Schinkel 's museums in Berlin, Sir John Soane 's Bank of England in London and the newly built " United States Capitol " in Washington, D.C.; and in Josiah Wedgwood 's bas reliefs and "black basaltes" vases . The style

15886-545: The designs of Zholtovsky, Fomin and other old masters were easily replicated in remote towns under strict material rationing . Improvement of construction technology after World War II permitted Stalinist architects to venture into skyscraper construction, although stylistically these skyscrapers (including "exported" architecture of Palace of Culture and Science , Warsaw and the Shanghai International Convention Centre) share little with

16055-498: The developments in philosophy and other areas of the Age of Enlightenment, and was initially a reaction against the excesses of the preceding Rococo style. While the movement is often described as the opposed counterpart of Romanticism , this is a great over-simplification that tends not to be sustainable when specific artists or works are considered. The case of the supposed main champion of late Neoclassicism, Ingres , demonstrates this especially well. The revival can be traced to

16224-531: The disapproval of critics. Neoclassicism was strongest in architecture , sculpture and the decorative arts , where classical models in the same medium were relatively numerous and accessible; examples from ancient painting that demonstrated the qualities that Winckelmann's writing found in sculpture were and are lacking. Winckelmann was involved in the dissemination of knowledge of the first large Roman paintings to be discovered, at Pompeii and Herculaneum and, like most contemporaries except for Gavin Hamilton ,

16393-643: The doorman, indicated Stendhal, and told him, "If this gentleman ever calls again, I am not here." His rancor against the Paris art establishment for his failure at the 1834 Salon did not abate. In 1836 he refused a major commission from the French Minister of the Interior, Adolphe Thiers , to decorate the interior of the Church of the Madeleine in Paris, because the commission had been offered first to

16562-449: The early 19th century with an unprecedented opportunity to study, compare, and copy masterworks from antiquity and from the entire history of European painting. As art historian Marjorie Cohn has written: "At the time, art history as a scholarly enquiry was brand-new. Artists and critics outdid each other in their attempts to identify, interpret, and exploit what they were just beginning to perceive as historical stylistic developments." From

16731-619: The establishment of formal archaeology . The writings of Johann Joachim Winckelmann were important in shaping this movement in both architecture and the visual arts. His books Thoughts on the Imitation of Greek Works in Painting and Sculpture (1750) and Geschichte der Kunst des Alterthums ("History of Ancient Art", 1764) were the first to distinguish sharply between Ancient Greek and Roman art, and define periods within Greek art, tracing

16900-505: The father of his former fiancée, "Yes, art will need to be reformed, and I intend to be that revolutionary." Characteristically, he found a studio on the grounds of the Villa Medici away from the other resident artists, and painted furiously. Many drawings of monuments in Rome from this time are attributed to Ingres, but it appears from more recent scholarship that they were actually the work of his collaborators, particularly his friend

17069-707: The figure of the Virgin from The Vow of Louis XIII was reprised: The Virgin of the Adoption of 1858 (painted for Mademoiselle Roland-Gosselin) was followed by The Virgin Crowned (painted for Madame la Baronne de Larinthie) and The Virgin with Child . In 1859 he produced new versions of The Virgin of the Host , and in 1862 he completed Christ and the Doctors , a work commissioned many years before by Queen Marie Amalie for

17238-563: The figures being white and the background blue. On the American continent , architecture and interior decoration have been highly influenced by the styles developed in Europe. The French taste has highly marked its presence in the southern states (after the French Revolution some emigrants have moved here, and in Canada a big part of the population has French origins). The practical spirit and

17407-501: The first of seven children (five of whom survived infancy) of Jean-Marie-Joseph Ingres  [ fr ] (1755–1814) and his wife Anne Moulet (1758–1817). His father was a successful jack-of-all-trades in the arts, a painter of miniatures , sculptor, decorative stonemason, and amateur musician; his mother was the nearly illiterate daughter of a master wigmaker. From his father the young Ingres received early encouragement and instruction in drawing and music, and his first known drawing,

17576-574: The first version of The Taking of the Bastille , which produced a number of commentaries. He received a second prize at the Concours of Year II for The 12 July 1789 . After giving up history painting for decorative subjects for a time, in 1798 he produced Augereau on the bridge at Arcole , the first in a series of paintings glorifying the Empire. He left for Italy , staying at the French Academy in Rome , meeting Dominique Ingres and becoming

17745-479: The front, giving a full view of tight-fitting trousers, was often worn when not on duty, and influenced civilian male styles. The trouser-problem had been recognised by artists as a barrier to creating contemporary history paintings ; like other elements of contemporary dress they were seen as irredeemably ugly and unheroic by many artists and critics. Various stratagems were used to avoid depicting them in modern scenes. In James Dawkins and Robert Wood Discovering

17914-520: The growing crowd of nudes in the Golden Age discomfited Ingres's patron, the Duc de Luynes, and Ingres suspended work on the mural in 1847. Ingres was devastated by the loss of his wife, who died on 27 July 1849, and he was finally unable to complete the work. In July 1851, he announced a gift of his artwork to his native city of Montauban, and in October he resigned as professor at the École des Beaux-Arts. However, in 1852, Ingres, then seventy-one years of age, married forty-three-year-old Delphine Ramel,

18083-458: The guardian of academic orthodoxy against the ascendant Romantic style . Although he considered himself a painter of history in the tradition of Nicolas Poussin and Jacques-Louis David , it is his portraits , both painted and drawn, that are recognized as his greatest legacy. His expressive distortions of form and space made him an important precursor of modern art , influencing Henri Matisse , Pablo Picasso , and other modernists. Born into

18252-485: The hair instead. Very light and loose dresses, usually white and often with shockingly bare arms, rose sheer from the ankle to just below the bodice, where there was a strongly emphasized thin hem or tie round the body, often in a different colour. The shape is now often known as the Empire silhouette although it predates the First French Empire of Napoleon, but his first Empress Joséphine de Beauharnais

18421-544: The height of the Napoleonic Empire . In France, the first phase of Neoclassicism was expressed in the " Louis XVI style ", and the second in the styles called " Directoire " and Empire . The Rococo style remained popular in Italy until the Napoleonic regimes brought the new archaeological classicism, which was embraced as a political statement by young, progressive, urban Italians with republican leanings. In

18590-558: The heroes of religion, history and mythology, to idealize them and show them in ways that explained their actions, rivaling the best works of literature and philosophy. In March 1797, the Academy awarded Ingres first prize in drawing, and in August he traveled to Paris to study in the studio of Jacques-Louis David , France's—and Europe's—leading painter during the revolutionary period, in whose studio he remained for four years. Ingres followed his master's neoclassical example. In 1797 David

18759-682: The idea of divinity", most critics praised the work. The journalist and future Prime Minister and French President Adolphe Thiers celebrated the breakthrough of a new style: "Nothing is better than variety like this, the essential character of the new style." In January 1825 Ingres was awarded the Cross of the Légion d'honneur by Charles X , and in June 1825 he was elected a member of Académie des Beaux-Arts. Lithographs of La Grande Odalisque published in 1826 in two competing versions by Delpech and Sudré found eager buyers; Ingres received 24,000 francs for

18928-480: The landscape artist François-Marius Granet . As required of every winner of the Prix , he sent works at regular intervals to Paris so his progress could be judged. Traditionally fellows sent paintings of male Greek or Roman heroes, but for his first samples Ingres sent Baigneuse à mi-corps (1807), a painting of the back of a young woman bathing, based on an engraving of an antique vase, and La Grande Bagneuse (1808),

19097-475: The late 19th century on it had often been considered anti-modern, or even reactionary, in influential critical circles. The centres of several European cities, notably Saint Petersburg and Munich , came to look much like museums of Neoclassical architecture. Gothic revival architecture (often linked with the Romantic cultural movement), a style originating in the 18th century which grew in popularity throughout

19266-514: The leader of French art, and after the French Revolution became a politician with control of much government patronage in art. He managed to retain his influence in the Napoleonic period, turning to frankly propagandistic works, but had to leave France for exile in Brussels at the Bourbon Restoration . David's many students included Jean-Auguste-Dominique Ingres , who saw himself as a classicist throughout his long career, despite

19435-452: The luxury of art in its beauty". However, once again, the critics were hostile, finding fault with the exaggerated proportions of the figures and the painting's flat, airless quality. Although facing uncertain prospects, in 1813 Ingres married a young woman, Madeleine Chapelle , recommended to him by her friends in Rome. After a courtship carried out through correspondence, he proposed without having met her, and she accepted. Their marriage

19604-614: The main figures of the period include Vittorio Alfieri , Giuseppe Parini , Vincenzo Monti and Ugo Foscolo , Giacomo Leopardi and Alessandro Manzoni (nephew of Cesare Beccaria ), who were also influenced by the French Enlightenment and German Romanticism. The virtuoso violinist Paganini and the operas of Rossini , Donnizetti , Bellini and, later, Verdi dominated the scene in Italian classical and romantic music. The art of Francesco Hayez and especially that of

19773-485: The majestic costume. At the Salon, his paintings— Self-Portrait , portraits of the Rivière family, and Napoleon I on his Imperial Throne —received a very chilly reception. David delivered a severe judgement, and the critics were hostile. Chaussard ( Le Pausanias Français , 1806) praised "the fineness of Ingres's brushwork and the finish", but condemned Ingres's style as gothic and asked: How, with so much talent,

19942-480: The many wealthy tourists, in particular the English, passing through postwar Rome. For an artist who aspired to a reputation as a history painter, this seemed menial work, and to the visitors who knocked on his door asking, "Is this where the man who draws the little portraits lives?", he would answer with irritation, "No, the man who lives here is a painter!" The portrait drawings he produced in such profusion during this period rank today among his most admired works. He

20111-716: The material situation of the Americans at that time gave the interiors a typic atmosphere. All the American furniture, carpets, tableware, ceramic, and silverware, with all the European influences, and sometimes Islamic , Turkish or Asian , were made in conformity with the American norms, taste, and functional requirements. There have existed in the US a period of the Queen Anne style , and an Chippendale one. A style of its own,

20280-481: The mind alone". The theory was very far from new in Western art, but his emphasis on close copying of Greek models was: "The only way for us to become great or if this be possible, inimitable, is to imitate the ancients". The Industrial Revolution saw global transition of human economy towards more efficient and stable manufacturing processes. There was tremendous material advancement and increased prosperity. With

20449-496: The most classicizing interiors of the Baroque , or the most "Roman" rooms of William Kent were based on basilica and temple exterior architecture turned outside in, hence their often bombastic appearance to modern eyes: pedimented window frames turned into gilded mirrors, fireplaces topped with temple fronts. The new interiors sought to recreate an authentically Roman and genuinely interior vocabulary. Techniques employed in

20618-652: The notable figures of the Enlightenment, and travelled to America to produce a statue of George Washington , as well as busts of Thomas Jefferson , Benjamin Franklin and other founders of the new republic. Antonio Canova and the Dane Bertel Thorvaldsen were both based in Rome, and as well as portraits produced many ambitious life-size figures and groups; both represented the strongly idealizing tendency in Neoclassical sculpture. Canova has

20787-453: The occasional half circle or oval. Interior decor also honored this taste for rigor, with the result that flat surfaces and right angles returned to fashion. Ornament was used to mediate this severity, but it never interfered with basic lines and always was disposed symmetrically around a central axis. Even so, ébénistes often canted fore-angles to avoid excessive rigidity. The decorative motifs of Louis XVI style were inspired by antiquity ,

20956-538: The other national variants of neoclassicism. It developed in opposition to the Baroque style around c.  1750 and lasted until c.  1850 . Neoclassicism began around the period of the rediscovery of Pompeii and spread all over Europe as a generation of art students returned to their countries from the Grand Tour in Italy with rediscovered Greco-Roman ideals. It first centred in Rome where artists such as Antonio Canova and Jacques-Louis David were active in

21125-424: The outcome of the Revolution was not a republic but a constitutional monarchy was satisfactory to the essentially conservative and pacifistic artist, who in a letter to a friend in August 1830 criticized agitators who "still want to soil and disturb the order and happiness of a freedom so gloriously, so divinely won." Ingres's career was little affected, and he continued to receive official commissions and honors under

21294-748: The prefect of Rome. In 1810 Ingres's pension at the Villa Medici ended, but he decided to stay in Rome and seek patronage from the French occupation government. In 1811 Ingres completed his final student exercise, the immense Jupiter and Thetis , a scene from the Iliad of Homer: the goddess of the Sea, Thetis, pleads with Zeus to act in favor of her son Achilles . The face of the water nymph Salmacis he had drawn years earlier reappeared as Thetis. Ingres wrote with enthusiasm that he had been planning to paint this subject since 1806, and he intended to "deploy all of

21463-461: The prefectural towns of Liège , Antwerp , Dunkerque , Brussels , and Ghent , all of which were newly ceded to France in the 1801 Treaty of Lunéville . Napoleon is not known to have granted the artists a sitting, and Ingres's meticulously painted portrait of Bonaparte, First Consul appears to be modelled on an image of Napoleon painted by Antoine-Jean Gros in 1802. In the summer of 1806, Ingres became engaged to Marie-Anne-Julie Forestier ,

21632-534: The pure and primitive manner of the painters of Antiquity; but he took for his model a few fragments from earlier periods and a degenerate execution, and completely lost his way." In 1820 Ingres and his wife moved to Florence at the urging of the Florentine sculptor Lorenzo Bartolini , an old friend from his years in Paris. He still had to depend upon his portraits and drawings for income, but his luck began to change. His history painting Roger Freeing Angelica

21801-514: The purest examples of the style were produced by Zholtovsky school that remained an isolated phenomena. The political intervention was a disaster for constructivist leaders yet was sincerely welcomed by architects of the classical schools. Neoclassicism was an easy choice for the Soviet Union since it did not rely on modern construction technologies ( steel frame or reinforced concrete ) and could be reproduced in traditional masonry . Thus

21970-447: The relentlessly negative press clippings sent to him from Paris by his friends. In letters to his prospective father-in-law, he expressed his outrage at the critics: "So the Salon is the scene of my disgrace; ... The scoundrels, they waited until I was away to assassinate my reputation ... I have never been so unhappy....I knew I had many enemies; I never was agreeable with them and never will be. My greatest wish would be to fly to

22139-415: The reproduction rights – twenty times the amount he had been paid for the original painting six years earlier. The 1824 Salon also brought forward a counter-current to the neoclassicism of Ingres: Eugène Delacroix exhibited Les Massacres de Scio , in a romantic style sharply contrasting to that of Ingres. The success of Ingres's painting led in 1826 to a major new commission, The Apotheosis of Homer ,

22308-562: The request of the Uffizi Gallery of Florence, he made his own-self portrait in 1858. The only colour in the painting is the red of his rosette of the Legion of Honour. Near the end of his life, he made one of his best-known masterpieces, The Turkish Bath . It reprised a figure and theme he had been painting since 1828, with his Petite Baigneuse . Originally completed in a square format in 1852 and sold to Prince Napoleon in 1859, it

22477-421: The rest of his life. While working in Rome and subsequently Florence from 1806 to 1824, he regularly sent paintings to the Paris Salon, where they were faulted by critics who found his style bizarre and archaic. He received few commissions during this period for the history paintings he aspired to paint, but was able to support himself and his wife as a portrait painter and draughtsman. He was finally recognized at

22646-506: The romantics. Ingres was accused of historical inaccuracy, for the colours, and for the feminine appearance of the Saint, who looked like a beautiful statue. In anger, Ingres announced that he would no longer accept public commissions, and that he would no longer participate in the Salon. He later did participate in some semi-public expositions and a retrospective of his work at the 1855 Paris International Exposition , but never again took part in

22815-441: The royal government, which David insisted on painting in Rome. David managed to combine an idealist style with drama and forcefulness. The central perspective is perpendicular to the picture plane, made more emphatic by the dim arcade behind, against which the heroic figures are disposed as in a frieze , with a hint of the artificial lighting and staging of opera , and the classical colouring of Nicolas Poussin . David rapidly became

22984-473: The same source of inspiration, classical antiquity. The Adam style emphasizes refined rectangular mirrors, framed like paintings (in frames with stylised leafs), or with a pediment above them, supporting an urn or a medallion. Another design of Adam mirrors is shaped like a Venetian window , with a big central mirror between two other thinner and longer ones. Another type of mirrors are the oval ones, usually decorated with festoons. The furniture in this style has

23153-455: The same time. Neoclassicism first gained influence in Britain and France, through a generation of French art students trained in Rome and influenced by the writings of Winckelmann, and it was quickly adopted by progressive circles in other countries such as Sweden , Poland and Russia . At first, classicizing decor was grafted onto familiar European forms, as in the interiors for Catherine

23322-444: The same, and so on. One of the main decorative principles is symmetry. In interiors, the colours used are very bright, including white, light grey, bright blue, pink, yellow, very light lilac, and gold. Excesses of ornamentation are avoided. The return to antiquity is synonymous with above all with a return to the straight lines: strict verticals and horizontals were the order of the day. Serpentine ones were no longer tolerated, save for

23491-589: The second half of the 18th century, before moving to Paris. Painters of Vedute , like Canaletto and Giovanni Paolo Panini , also enjoyed a huge success during the Grand Tour. Neoclassical architecture was inspired by the Renaissance works of Andrea Palladio and saw in Luigi Vanvitelli the main interpreters of the style. Classicist literature had a great impact on the Risorgimento movement:

23660-555: The shorter styles that finally despatched the use of wigs, and then white hair-powder, for younger men. The trouser had been the symbol of the barbarian to the Greeks and Romans, but outside the painter's or, especially, the sculptor's studio, few men were prepared to abandon it. Indeed, the period saw the triumph of the pure trouser, or pantaloon , over the culotte or knee-breeches of the Ancien Régime . Even when David designed

23829-639: The spring of 1814 to paint Queen Caroline Murat . Joachim Murat , the King of Naples, had earlier purchased the Dormeuse de Naples , a sleeping nude (the original is lost, but several drawings exist, and Ingres later revisited the subject in L'Odalisque à l'esclave ). Murat also commissioned two historical paintings, Raphael et la Fornarina and Paolo et Francesca , and what later became one of Ingres's most famous works, La Grande Odalisque , to accompany Dormeuse de Naples . Ingres never received payment, due to

23998-404: The style included flatter, lighter motifs, sculpted in low frieze -like relief or painted in monotones en camaïeu ("like cameos"), isolated medallions or vases or busts or bucrania or other motifs, suspended on swags of laurel or ribbon, with slender arabesques against backgrounds, perhaps, of "Pompeiian red" or pale tints, or stone colors. The style in France was initially a Parisian style,

24167-532: The trouser was still being carefully avoided in The Raft of the Medusa , completed in 1819. Jean-Auguste-Dominique Ingres Jean-Auguste-Dominique Ingres ( / ˈ æ ŋ ɡ r ə / ANG -grə ; French: [ʒɑ̃ oɡyst dɔminik ɛ̃ɡʁ] ; 29 August 1780 – 14 January 1867) was a French Neoclassical painter . Ingres was profoundly influenced by past artistic traditions and aspired to become

24336-499: The villa Aldobrandini. The painting shows the moment when Virgil, reciting his work to the Emperor Augustus , his wife Livia and his sister Octavia , mentions the name of Octavia's dead son, Marcellus , causing Octavia to faint. The interior was precisely depicted, following the archeological finds at Pompeii . As usual, Ingres made several versions of the same scene: a three-figure fragment cut from an abandoned version

24505-488: The walls, ceilings, doors, and any other surface, are divided into big panels: rectangular, round, square, with stuccos and Greco-Roman motifs at the edges. Ornaments used include festoons , pearls, egg-and-dart bands, medallions , and any other motifs used during the Classical antiquity (especially the Etruscan ones). Decorative fittings such as urn-shaped stone vases, gilded silverware, lamps, and stauettes all have

24674-501: The winner to four years of residence at the French Academy in Rome. He came in second in his first attempt, but in 1801 he took the top prize with The Ambassadors of Agamemnon in the tent of Achilles . The figures of the envoys, in the right of the painting, are muscular and solid as statues, in the style taught by David, but the two main figures on the left, Achilles and Patroclus, are mobile, vivid and graceful, like figures in

24843-521: The young Jean-Auguste-Dominique was enrolled in the Académie Royale de Peinture, Sculpture et Architecture. There he studied under the sculptor Jean-Pierre Vigan, the landscape painter Jean Briant, and the neoclassical painter Guillaume-Joseph Roques . Roques' veneration of Raphael was a decisive influence on the young artist. Ingres won prizes in several disciplines, such as composition, "figure and antique", and life studies. His musical talent

25012-463: Was The Illness of Antiochus (1840; also known as Aniochus and Stratonice ) a history painting on a theme of love and sacrifice, a theme once painted by David in 1800, when Ingres was in his studio. It was commissioned by the Duc d'Orleans , the son of King Louis Philippe I ), and had very elaborate architectural background designed by one of the Academy students, Victor Baltard , the future architect of

25181-451: Was a pensioner at the time at the Academy, described Ingres's appreciation of modern music, including Weber and Berlioz, and his adoration for Beethoven, Haydn, Mozart and Gluck. He joined the music students and his friend Niccolò Paganini in playing Beethoven's violin works. Gounod wrote that Ingres "had the tenderness of an infant and the indignation of an apostle." When Stendhal visited the Academy and disparaged Beethoven, Ingres turned to

25350-590: Was also, or mainly, a sculptor, mostly producing severely classical reliefs that are comparable in style to his prints; he also designed and modelled Neoclassical ceramics for Josiah Wedgwood for several years. Johann Gottfried Schadow and his son Rudolph , one of the few Neoclassical sculptors to die young, were the leading German artists, with Franz Anton von Zauner in Austria. The late Baroque Austrian sculptor Franz Xaver Messerschmidt turned to Neoclassicism in mid-career, shortly before he appears to have suffered some kind of mental crisis, after which he retired to

25519-405: Was based on Neoclassical principles, his subjects and treatment more often reflected the "Gothic" strain of Romanticism , and sought to evoke drama and excitement. Neoclassicism in painting gained a new sense of direction with the sensational success of Jacques-Louis David 's Oath of the Horatii at the Paris Salon of 1785. Despite its evocation of republican virtues, this was a commission by

25688-413: Was commissioned in 1824 by the Ministry of the Interior for the Cathedral of Autun , and the iconography in the picture was specified by the bishop. Ingres conceived the painting as the summation of all of his work and skill, and worked on it for ten years before displaying it at the 1834 Salon. He was surprised, shocked and angered by the response; the painting was attacked by both the neoclassicists and by

25857-538: Was developed under the tutelage of the violinist Lejeune, and from the ages of thirteen to sixteen he played second violin in the Orchestre du Capitole de Toulouse. From an early age he was determined to be a history painter, which, in the hierarchy of genres established by the Royal Academy of Painting and Sculpture under Louis XIV, and continued well into the 19th Century, was considered the highest level of painting. He did not want to simply make portraits or illustrations of real life like his father; he wanted to represent

26026-442: Was entirely different from his earlier portrait of Napoleon as First Consul; it concentrated almost entirely on the lavish imperial costume that Napoleon had chosen to wear, and the symbols of power he held. The scepter of Charles V , the sword of Charlemagne the rich fabrics, furs and capes, crown of gold leaves, golden chains and emblems were all presented in extremely precise detail; the Emperor's face and hands were almost lost in

26195-470: Was happy; Madame Ingres's faith was unwavering. He continued to suffer disparaging reviews, as Don Pedro of Toledo Kissing Henry IV's Sword , Raphael and the Fornarina ( Fogg Art Museum , Harvard University ), several portraits, and the Interior of the Sistine Chapel met with generally hostile critical response at the Paris Salon of 1814. After he left the Academy, a few important commissions came to him. The French governor of Rome, General Miollis ,

26364-505: Was influential in spreading it around Europe. A long rectangular shawl or wrap, very often plain red but with a decorated border in portraits, helped in colder weather, and was apparently laid around the midriff when seated—for which sprawling semi-recumbent postures were favoured. By the start of the 19th century, such styles had spread widely across Europe. Neoclassical fashion for men was far more problematic, and never really took off other than for hair, where it played an important role in

26533-406: Was intended to idealize Napoleon's leadership and the French state. The style corresponds to the more bourgeois Biedermeier style in the German-speaking lands, Federal style in the United States, the Regency style in Britain, and the Napoleon style in Sweden. According to the art historian Hugh Honour "so far from being, as is sometimes supposed, the culmination of the Neoclassical movement,

26702-563: Was international; Scots architect Charles Cameron created palatial Italianate interiors for the German-born Catherine the Great, in St. Petersburg, Russia. Indoors, Neoclassicism made a discovery of the genuine classic interior, inspired by the rediscoveries at Pompeii and Herculaneum . These had begun in the late 1740s, but only achieved a wide audience in the 1760s, with the first luxurious volumes of tightly controlled distribution of Le Antichità di Ercolano ( The Antiquities of Herculaneum ). The antiquities of Herculaneum showed that even

26871-401: Was mainly portraits, very often as busts, which do not sacrifice a strong impression of the sitter's personality to idealism. His style became more classical as his long career continued, and represents a rather smooth progression from Rococo charm to classical dignity. Unlike some Neoclassical sculptors he did not insist on his sitters wearing Roman dress, or being unclothed. He portrayed most of

27040-443: Was not until after it that thorough-going attempts to imitate ancient styles became fashionable in France, at least for women. Classical costumes had long been worn by fashionable ladies posing as some figure from Greek or Roman myth in a portrait (in particular there was a rash of such portraits of the young model Emma, Lady Hamilton from the 1780s), but such costumes were only worn for the portrait sitting and masquerade balls until

27209-475: Was once again condemned by critics as gothic and unnatural. The critic Kératy complained that the Grande Odalisque's back was three vertebrae too long. The critic Charles Landon wrote: "After a moment of attention, one sees that in this figure there are no bones, no muscles, no blood, no life, no relief, no anything which constitutes imitation....it is evident that the artist deliberately erred, that he wanted to do it badly, that he believed in bringing back to life

27378-472: Was one of the most studious ... he took little part in the all the turbulent follies around him, and he studied with more perseverance than most of his co-disciples ... All of the qualities which characterize today the talent of this artist, the finesse of contour, the true and profound sentiment of the form, and a modeling with extraordinary correctness and firmness, could already be seen in his early studies. While several of his comrades and David himself signaled

27547-423: Was purchased for the private collection of Louis XVIII, and was hung in the Musée du Luxembourg in Paris, which was newly devoted to the work of living artists. This was the first work of Ingres to enter a museum. In 1821, he finished a painting commissioned by a childhood friend, Monsieur de Pastoret, The Entry into Paris of the Dauphin, the Future Charles V ; de Pastoret also ordered a portrait of himself and

27716-540: Was regarded as being revived varying considerably. Ancient models were certainly very much involved, but the style could also be regarded as a revival of the Renaissance, and especially in France as a return to the more austere and noble Baroque of the age of Louis XIV , for which a considerable nostalgia had developed as France's dominant military and political position started a serious decline. Ingres 's coronation portrait of Napoleon even borrowed from Late Antique consular diptychs and their Carolingian revival, to

27885-518: Was representative for the new French society that exited the revolution , setting the tone in all life fields, including art. The Jacquard machine was invented during this period (which revolutionised the entire sewing system, manual until then). One of the dominant colours was red, decorated with gilt bronze . Bright colours were also used, including white, cream, violet, brown, blue, dark red, with little ornaments of gilt bronze. Interior architecture included wood panels decorated with gilt reliefs (on

28054-450: Was returned to the artist soon afterward—according to a legend, Princess Clothilde was shocked by the abundant nudity. After reworking the painting as a tondo , Ingres signed and dated it in 1862, although he made additional revisions in 1863. The painting was eventually purchased by a Turkish diplomat, Khalid Bey, who owned a large collection of nudes and erotic art, including several paintings by Courbet . The painting continued to cause

28223-425: Was then Prussia . Karl Friedrich Schinkel built many prominent buildings in this style, including the Altes Museum in Berlin. While the city remained dominated by Baroque city planning, his architecture and functional style provided the city with a distinctly neoclassical center. His Bauakademie is considered one of the forerunners of modern architecture due to its hithertofore relatively streamlined façade of

28392-533: Was unimpressed by them, citing Pliny the Younger 's comments on the decline of painting in his period. As for painting, Greek painting was utterly lost: Neoclassicist painters imaginatively revived it, partly through bas-relief friezes , mosaics and pottery painting, and partly through the examples of painting and decoration of the High Renaissance of Raphael 's generation, frescos in Nero 's Domus Aurea , Pompeii and Herculaneum, and through renewed admiration of Nicolas Poussin . Much "Neoclassical" painting

28561-458: Was working on his enormous masterpiece, The Intervention of the Sabine Women , and was gradually modifying his style away from Roman models of rigorous realism to the ideals of purity, virtue and simplicity in Greek art. One of the other students of David, Étienne-Jean Delécluze , who later became an art critic, described Ingres as a student: He was distinguished not just by the candor of his character and his disposition to work alone ... he

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