Just some sample sketchbook work to hopefully inspire you all!www.studentartguide.com/articles/art-sketchbook-ideas
Key IdeasPissarro's earliest artistic studies were carried out in Paris, France, and Caracas, Venezuela. In Paris, his artistic education stressed an empirical Realism that carried through his entire career; in Caracas, he studied nature and peasant life under tropical conditions, focusing on the effects of light on color, which he would help theorize as a key Impressionist theme.
Pissarro's art cannot be divorced from his politics. Influenced artistically by the Realist painter Gustave Courbet, Pissarro's paintings dignify the labor of peasants in communal villages, reflecting the socialist-anarchist political leanings that the two artists shared. Pissarro, working closely with the younger Neo-impressionists Georges Seurat and Paul Signac late in his life, was one of the earliest artists to experiment with color harmonies. In his canvases, complementary colors in broken, dashed brushstrokes weave together to heighten the vibrancy of his compositions. In doing so, they visually embed his peasant figures harmoniously into the landscapes to which they belong and which belong to them, communicating a symbolic link to their terrain largely absent from Impressionist painting. Unlike the Impressionists who lived in Paris, Pissarro chose to live most of his life in the French countryside, where he received younger artists interested in studying his techniques. More than any other member of the movement, he is known for the gentle demeanor and passion for experimentation that made him an artistic mentor. His longtime collaboration with the young Cézanne, for example, made him an indispensable influence on 20th-century modernism. prezi.com/e19yehfrxpuy/?utm_campaign=share&utm_medium=copy See the link for access to my presentation. Synopsis Always remembered as an Impressionist, Edgar Degas was a member of the seminal group of Paris artists who began to exhibit together in the 1870s. He shared many of their novel techniques, was intrigued by the challenge of capturing effects of light and attracted to scenes of urban leisure. But Degas's academic training, and his own personal predilection toward Realism, set him apart from his peers, and he rejected the label 'Impressionist' preferring to describe himself as an 'Independent.' His inherited wealth gave him the comfort to find his own way, and later it also enabled him to withdraw from the Paris art world and sell pictures at his discretion. He was intrigued by the human figure, and in his many images of women - dancers, singers, and laundresses - he strove to capture the body in unusual positions. While critics of Impressionists focused their attacks on their formal innovations, it was Degas's lower-class subjects that brought him the most disapproval. Key Ideas Degas rejected the typical subjects that were made popular by the academies, such as scenes from history and myth, and instead he explored modern life. Like the Realists and Impressionists, he often painted images of middle class leisure in the city. Degas' academic training encouraged a strong classical tendency in his art, which conflicted with the approach of the Impressionists. While he valued line as a means to describe contours and to lend solid compositional structure to a picture, they favored color, and more concentration on surface texture. As well, he preferred to work from sketches and memory in the traditional academic manner, while they were more interested in painting outdoors (en plein air). Degas' enduring interest in the human figure was shaped by his academic training, but he approached it in innovative ways. He captured strange postures from unusual angles under artificial light. He rejected the academic ideal of the mythical or historical subject, and instead sought his figures in modern situations, such as at the ballet. Like many of the Impressionists, Degas was significantly influenced by Japanese prints, which suggested novel approaches to composition. The prints had bold linear designs and a sense of flatness that was very different from the traditional Western picture with its perspective view of the world. Biography Childhood Edgar Degas was the eldest of five children of Célestine Musson de Gas, an American by birth, and Auguste de Gas, a banker. Edgar later changed his surname to the less aristocratic sounding 'Degas' in 1870. Born into a wealthy Franco-Italian family, he was encouraged from an early age to pursue the arts, though not as a long-term career. Following his graduation in 1853 with a baccalaureate in literature, the eighteen-year-old Degas registered at the Louvre as a copyist, which he claimed later in life is the foundation for any true artist. After a brief period at law school, in 1855 he was admitted to the École des Beaux-Arts in Paris, where he studied drawing under the academic artist Louis Lamothe, a former pupil of Jean-Auguste-Dominique Ingres. That same year, the Exposition Universelle took place, and Degas was enthralled by Gustave Courbet's Pavilion of Realism. It was also at the Exposition that Degas first met Ingres, a painter several years his senior, whose personal guidance was valuable. Early Period and Training In 1865, when Degas was aged 22, he traveled to Naples, Italy, to visit his aunt, the Baroness Bellini and her family. This three-year trip was an important moment in his development, and resulted in the Realist portrait The Bellini Family (1859). He spent countless hours combing the museums and galleries of Italy, carefully studying Renaissance works by Michelangelo, Raphael and Titian, among others. In 1864, while copying a picture by Velázquez at the Louvre, he met Édouard Manet, who by chance was copying the same painting. His friendship with Manet was instrumental in the development of Impressionism. The following year, Degas exhibited at the Paris Salon, the first of six consecutive showings, showing works such as Édouard Manet and Mme. Manet and The Orchestra of the Opera (both 1868-69), paintings that subtly blurred the lines between straight portraiture and genre painting. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Edgar Degas Biography Continues LegacyAlthough Degas suffered criticism during his lifetime, by the time of his death his reputation was secure as one of the leaders of late 19th century French art. His distinct difference from the Impressionists, his greater tendency toward Realism, had also come to be appreciated. His standing has only increased since his death, though since the 1970s he was been the focus of a lot of scholarly attention and criticism, primarily focused around his images of women, which have been seen as misogynistic. prezi.com/d9vv60lten4w/?utm_campaign=share&utm_medium=copy&rc=ex0share
Click the above link to access my powerpoint on Renoir. Famed for his sensual nudes and charming scenes of pretty women, Auguste Renoir was a far more complex and thoughtful painter than generally assumed. He was a founding member of the Impressionist movement, nevertheless he ceased to exhibit with the group after 1877. From the 1880s until well into the twentieth century, he developed a monumental, classically inspired style that influenced such avant-garde giants as Pablo Picasso . Renoir began his artistic career as a porcelain painter; however, his ambitions to become a professional artist prompted him to seek other instruction. He began copying paintings at the Louvre in 1860 and eventually entered the studio of the academic artist Charles Gleyre, where he met Claude Monet, Frédéric Bazille, and Alfred Sisley. The four friends soon began painting in the forest of Fontainebleau, although Renoir always remained dedicated to figure painting and portraits. His early female nudes were heavily influenced by the earthy palette and buxom figure types of Realist painter Gustave Courbet. In the summer of 1869, Renoir painted for two months alongside Monet at La Grenouillère, a boating and bathing establishment outside Paris .Their sketchlike technique of broad, loose brushstrokes and their brightened palette attempted to capture the effects of the sun streaming through the trees on the rippling water. This painting campaign catalyzed the development of the Impressionist aesthetic. After several of his paintings were rejected by the Salon in the early 1870s, Renoir decided to join Monet in establishing an independent artist’s society. The Impressionists, as they were called, sought to capture modern life and Renoir’s works from this period focused on everyday people, streets, and surroundings. His most iconic painting from this period, Dance at the Moulin de la Galette , explores dappled light as it flutters over young Montmartre revelers flirting, drinking, and dancing .Renoir’s penchant for portraiture attracted the attention of a range of patrons with avant-garde sensibilities. From the politically radical pastry cook Eugène Murer to the wealthy society lady Madame Georges Charpentier, Renoir painted all of his patrons with affectionate charm. One of the most splendid and ambitious portraits Renoir ever realized, the painting of Marguerite Charpentier with her children blends a modern informality and intimacy with the compositional rigor of an old master portrait. The painting also prominently displays the Charpentiers’ advanced taste for Japanese arts. Portraiture sustained Renoir financially, especially after the Charpentier painting was exhibited at the 1879 Salon to great success. Renoir, in fact, met one of his best patrons, the banker Paul Bérard, at Mme Charpentier’s home. They became very close—Renoir painted all of his children and visited the Bérards’ country house in Wargemont regularly, where he explored other genres such as seascapes and luxuriant still lifes With his newfound financial freedom, Renoir began to explore other artistic directions. His doubts about the spontaneity and impermanence of the Impressionist aesthetic led him to refuse to participate in the fourth Impressionist exhibition in 1878. Instead, Renoir decided to look back to the old masters for an art of structure, craft, and permanence. His first painting in this vein, Luncheon of the Boating Party (Phillips Collection, Washington, D.C., 1637), exhibits a new solidity and clarity in the depiction of the figures and their placement within space, especially when compared to the Moulin de la Galette. Renoir left for Italy in 1881 to continue his self-education in the “grandeur and simplicity of the ancient painters.” He returned enamored of Raphael and Pompeii and his figures consequently became more crisply drawn and sculptural in character Reclining Nude is an excellent example of his painting style in the mid-1880s. The marble or porcelain-like figure is sharply defined against an impressionistically brushed landscape. The spatial relationship between the nude and the amorphous background is deliberately unclear. While the back view of the nude quotes the coldly linear odalisques of Ingres, the bushy vegetation and coastal view recall the landscapes Renoir painted on the English Channel island of Guernsey, which he visited in 1883 This series of sculptural nudes in a vague landscape culminated in Renoir’s Large Bathers now at the Philadelphia Museum of Art (1963-116-13). By the late 1880s and early 1890s, Renoir had shifted his investigation of the old masters from linear classicism to the coloristic traditions of Titian and Rubens as well as the unabashedly sensual beauty of eighteenth-century French art. Young Girl Bathing exhibits this softened touch. The figure’s amplitude, the way her hair blends into the lush landscape, her demure glance away from the viewer, and the caressing brushstrokes allude simultaneously to the nudes of Rubens and Fragonard . Renoir’s most important series of the decade came from an invitation by the French government to execute a painting for the Musée du Luxembourg, a new museum devoted to the work of living artists. Renoir made five versions of Two Young Girls at the Piano for the Minister of Fine Arts to choose from; the version in the Metropolitan’s Robert Lehman Collection is one of the finest The subject of girls at a piano recalls eighteenth-century French genre scenes, especially those of Fragonard. Renoir had painted the subject several times before, most notably in a major portrait commission In the early twentieth century, despite old age and declining health, Renoir persisted in artistic experimentation. He took up sculpture, hiring a young assistant and collaborator, Richard Guino, to create models after his designs. He continued to paint portraits and his Tilla Durieux is arguably the finest of his late portraits. The pyramidal composition, lavish costume, and textiles framing the sitter derive from Titian’s portraits, attesting to Renoir’s continued admiration of Renaissance art . The warm, red tonalities and expansive sense of monumentality, however, are features of his late style. During this period, Renoir lived mostly in the south of France near the Mediterranean coast. His physical deterioration was the impetus for this change of climate, but Renoir was also drawn to an arcadian ideal of Mediterranean classicism in his art. This artistic preoccupation is nowhere more apparent then in his twentieth-century bathers. The Rubenesque nudes he had been painting reached a level of unprecedented exaggeration in the twentieth century, culminating in the massive Bathers at the Musée d’Orsay (RF2795). Mary Cassatt infamously described these pictures as of “enormously fat red women with very small heads.” Nevertheless, their over-the-top vision of edenic plenitude was admired by Picasso , Henri Matisse , and Aristide Maillol. Renoir was celebrated in the early twentieth century as one of the greatest modern French painters, not just for his work as an Impressionist but also for the uncompromising aesthetic of his late works. Cindy Kang Institute of Fine Arts, New York University prezi.com/y0qgb8npo95d/?utm_campaign=share&utm_medium=copy https://www.vangoghmuseum.nl/en/vincent-van-gogh-life-and-work www.vangoghmuseum.nl/en/news-and-press/news/virtual-sunflower-360-gallery prezi.com/y0qgb8npo95d/gallery-visit/#
Click the link to access the interactive ppt. vimeo.com/172237993 Please click the above link to access the movie with Benedict Cumberbatch in it.
Click this link to access my presentation on Manet. prezi.com/4xrhnd_zkq-p/edouard-manet-art-for-a-democratic-age/ BBC have a brill documentary called Manet: the man who invented Modern Art. It can be streamed from sites which I cannot post to this webpage Leaving Cert Objects list:
Organic: Fruit, vegetables, seeds, flowers, dried flowers, leaves, driftwood, feathers, bones, fish, Shellfish , trees, branches, twigs, fungus, rocks, stones, pebbles, human body, animal parts, meat, bacteria, hives, decomposing food, pine cones, snails, insects, spiders, spider webs, water, bubbles, steam, fire, smoke, clouds, darkness, shadows, food, spices, pasta, dried fruit and veg, pot potpourris Structures: Manmade Lego, building blocks, jenga, toys, soft toys, pegs, utensils, furniture, appliances, machinery, clothing, bags, shoes, computer parts, headphones, ps4 and games, cosmetics, perfume bottles, make-up brushes, garden tools, cooking pots, transport, Litter bins, trash, object found in an attic, Christmas ornaments, packaging, cities, buildings, fences, chairs, locks, keys, sport equipment, food, glasses, mirror, jewellery boxes, suitcases, luggage Texture: Ropes, tassels, velvet, faux fur, feathers, leather, metals, brushed metal, rust, moss, peat, rocks and rubble, cotton, petals, bark, sandpaper, suede, aged shoes, straw hat, corsets, silk, brushes Human Form: Internal and external Cultural Expression through clothing Personality traits, Thoughts, Feelings, Emotions, Features, Physical changes, Artwork description & Analysis: This enormous painting, which measures over 16 feet wide, depicts another dramatic historical event, the last suicidal moments of Assyrian King Sardanapalus, who ordered the destruction of all his possessions (including his harem) during the siege of his palace. Rather than be vanquished he preferred to die, and the moment Delacroix chose to depict is just before his suicide, an act more extravagant than heroic, to be sure. The king is seen dressed in white reclining on a large red-draped bed, as he observes the chaos and mayhem around him. One female slave has collapsed onto the bed beside the king, while another awaits her death at the hand of a male attendant in the foreground. Meanwhile, horses rear in fear in the left foreground, barely contained by a slave. The King's chamber is strewn with riches including pieces of gold, jewelry, and luxurious fabrics, all of which will soon burn in the flames of the funeral pyre. The Sardanapalus story was popular with the Romantics, and inspired a number of artistic works during the nineteenth century including an opera by Frans Liszt and a play by Byron, upon which Delacroix based this painting. The artist enhanced the inherent drama of the scene through his compositional organization: the overall effect is one of chaos, but of a very particular kind, marked by decadence and louche excess. By using his imagination, he imbues a historical narrative with greater dramatic impact. This painting is a key example of the dramatic flair Delacroix brought to his work, and evidences his view that, "to imagine a composition is to combine elements one knows and has seen, with others that spring from the inner being of the artist." The painting displays Delacroix's mastery of color, and in particular his use of red - which simultaneously signifies decadence and luxury but also of course blood and wounds. Indeed, Delacroix's mastery of expressive color would inspire the earliest modern artists such as Manet and Cézanne. Also important to note is his use of a painterly brushstroke, much different than the controlled neoclassical (and often invisible) touch of Ingres, for instance. In this painting, the chaos and energy of the scene are matched and enhanced by Delacroix's treatment of the paint itself.
Above are images from the English art system. Click this link to read an article which aids in how to explore and develop a theme www.studentartguide.com/articles/a-level-art-ideas
Click the above link to access my revision notes on neo-classicism up to realism.
prezi.com/ukhanllef51g/impressionism-the-beginnings-of-change/ Your first double class! prezi.com/eyhx3k-bcuo4/realism-to-impressionism/ Click the above link to access my PREZI. The Royal Academy supported the age-old belief that art should be instructive, morally uplifting, refined, inspired by the classical tradition, a good reflection of the national culture, and, above all, about beauty. But trying to keep young nineteenth-century artists’ eyes on the past became an issue! The world was changing rapidly and some artists wanted their work to be about their contemporary environment—about themselves and their own perceptions of life. In short, they believed that the modern era deserved to have a modern art. The Modern Era begins with the Industrial Revolution in the late eighteenth century. Clothing, food, heat, light and sanitation are a few of the basic areas that “modernized” the nineteenth century. Transportation was faster, getting things done got easier, shopping in the new department stores became an adventure, and people developed a sense of “leisure time”—thus the entertainment businesses grew.Paris transformed In Paris, the city was transformed from a medieval warren of streets to a grand urban center with wide boulevards, parks, shopping districts and multi-class dwellings (so that the division of class might be from floor to floor—the rich on the lower floors and the poor on the upper floors in one building—instead by neighborhood). Therefore, modern life was about social mixing, social mobility, frequent journeys from the city to the country and back, and a generally faster pace which has accelerated ever since.How could paintings and sculptures about classical gods and biblical stories relate to a population enchanted with this progress? In the middle of the nineteenth century, the young artists decided that it couldn’t and shouldn’t. In 1863 the poet and art critic Charles Baudelaire published an essay entitled “The Painter of Modern Life,” which declared that the artist must be of his/her own time.Courbet Gustave Courbet, A Burial at Ornans, 1849-50, oil on canvas, 314 x 663 cm (Musee d'Orsay, Paris) Gustave Courbet, a young fellow from the Franche-Comté, a province outside of Paris, came to the "big city" with a large ego and a sense of mission. He met Baudelaire and other progressive thinkers within the first years of making Paris his home. Then, he set himself up as the leader for a new art: Realism—“history painting” about real life. He believed that if he could not see something, he should not paint it. He also decided that his art should have a social consciousness that would awaken the self-involved Parisian to contemporary concerns: the good, the bad and the ugly. www.khanacademy.org/humanities/becoming-modern/avant-garde-france#realism Have fun and research your phobia! www.pinterest.ie/usefulartifacts/ Here's a link to my pinterest page
Your workshop will take place on Friday the 27th. In preparation for this you are being asked to:
Joseph Mallord William Turner was an English painter, watercolourist and printmaker who lived and worked in the late 1700s and early 1800s. You might know him from his swirling, light-filled Romantic paintings of land- and seascapes. A famous artist in his own lifetime, Turner is considered today to be one of the great British painters and has inspired generations of later artists. For example: when French artists Claude Monet (best known for his Water Lilies) and Camille Pissarro took refuge in London during the Franco-Prussian War of 1870–71, their discovery of Turner’s atmospheric paintings played a major role in the development of their art. (Monet and Pissarro were Impressionists: they sought to capture light, colour, and natural effects in their paintings.) A century after the Impressionists found Turner in London, the American abstract painter Mark Rothko donated his Seagram Murals to Tate, in part because of his admiration for Turner’s late painting. That painters as diverse as Monet and Rothko drew from Turner’s work only goes to show Turner’s importance then and now. From Romanticism to pre-Impressionism, watercolours to oils, architectural details to churning seascapes, there is something in Turner’s work for everyone. Turner the manJoseph Mallord William Turner was born in London on April 23, 1775, in London, to a barber and a wig-maker. He remained a Londoner and kept a working-class Cockney accent all his life, avoiding the veneer of social polish acquired by many artists of the time as they climbed the professional ladder. Possibly due to the ill health of his mother, the young Turner was sent to stay with various relatives as a child, and from a young age was captivated by the sea—a subject that would appear in his paintings again and again. At the age of 14 he decided to become an artist, and began to study at the schools of the Royal Academy. Turner exhibited his first oil painting at the Royal Academy, Fishermen at Sea, in 1796, when he was twenty-one. He continued to exhibit at the RA and remained involved with the Academy throughout his career. A fiercely private man, Turner kept the details of his life private from most people, including his own family. His primary loyalties were to his professional colleagues and friends, including a few patrons and benefactors who regularly supported and bought his work. In later life, he became much more of an eccentric individual. His colleague, friend, and great critical champion John Ruskin described him like this: "I found in him a somewhat eccentric, keen-mannered, matter-of-fact, English-minded gentleman: good-natured evidently, bad-tempered evidently, hating humbug of all sorts, shrewd, perhaps a little selfish, highly intellectual, the powers of his mind not brought out with any delight in their manifestation, or intention of display, but flashing out occasionally in a word or a look."Turner’s health began to fail in 1845, when he was seventy, although he lived and continued to paint, until the age of seventy-six, when he died at his home in London. John Constable's focus was on the natural English landscape that he idolized since childhood. His paintings rebelled against the work of artists of the Neoclassical style who had simply used landscape to display historical and mythical scenes. Instead, he used his work to showcase the beauty and power of nature and his work is today synonymous with the Suffolk landscape and the Romantic Movement he embodied. John Constable was born in the second half of the 18th century, at the beginning of the Industrial Revolution when poverty was rife within the poorer communities of England. In the art world, many professionals were rebelling against the pure and realistic lines of the Neoclassical period and started producing paintings and sculpture which took the viewer into a new world, far removed from the realities of everyday life. In this respect Constable was different; he loved painting nature and used it as the focus of his pictures, creating realistic landscapes. His style was to take a natural landscape and paint it just as he saw it without enhancing or changing it. This realism made Constable's work stand out from his contemporaries as well as the techniques he used to create a more life-like feel to his paintings. Constable was a landscape revolutionary and it is thanks to him that the work of Monet and the French Impressionists developed in the way it did. I hope all of you are safe and sheltered. If the power is out it could be a perfect time to get some sketches done for our 3rd year students. Refer to the checklist and call in to us at any stage in the week should you need to discuss your projects
Click here to When brainstorming ideas for an Art project, remember that:
Draw lots of small pictures to illustrate ideas visually, as inspired by this Curiocity map of London illustrated by Nicole Mollet: . Integrate a mind map with an ‘incomplete’ image that extends across the page, inspired by this digital illustration by Alex Plesovskich:
Click the link below for additional info on Delacroix and Gericault. www.khanacademy.org/humanities/becoming-modern/romanticism/romanticism-in-france/a/delacroix-liberty-leading
Introduction
Jean Auguste Dominique Ingres The ups and downs of Jean-Auguste-Dominique Ingres' career are a most fascinating aspect of his artistic journey. During his 87 years he had frequently seen the critical response to his work go from unabashed scorning to enthusiastic accolades. This fluctuation literally occurred overnight after one Salon exhibition, but it was without significant longevity. Though the opinion of his worth as an artist was inconsistent the majority of his life, he ultimately finished on top. In his latter years he was well respected, highly sought after and even deemed the best living artist in France. Ingres is credited as an icon of cultural conservatism in 19th century France. He is known for his obsessive quest for ideal beauty which resulted in his famous (or infamous) anatomical distortions. He was a respected portraitist and was commissioned to do work for the royal family. Jean Auguste Dominique Ingres Artistic Context Ingres is considered one of the last Neoclassical painters. When his life ended, so did the movement. Neoclassicism is the 18th century revival of classical beliefs. It differs from other revivals because the old interest was paired with new findings of both ancient worlds; Greece and Rome. The artifacts uncovered at Pompeii and Herculaneum contributed significantly to this rebirth of classicism. Artists like Ingres portrayed the absolute truth of life as seen through the mirror of the "pure and simple" verities of antiquity. Neoclassicism replaced frivolity and superficiality of the Rococo era. Jean Auguste Dominique Ingres BiographyThere's no specific age to pinpoint when Ingres became interested in art. As his father was an artist, Ingres likely began training at an early age. His career experienced many ups and downs, but as a true Neoclassical artist, Ingres stayed true to the classical notion of idealized beauty. Early Years: He elevated to more formal training, moving to France then to Rome and back between the two places throughout his life. Ingres spent the majority of his early years following his own artistic impulses, thus being rejected almost entirely by the Salon's critic approval. Intermediate Years: The reaction to Ingres' art fluctuated during his middle years. He spent his time moving back and forth from Paris to Rome according to if he had a favorable response or not. Likewise, his critical reception went back and forth; in and out of his favor. Despite the fickle public, Ingres eventually became a well respected teacher. Advanced Years: In his latter years, Ingres continued to paint and shock his critics. He ultimately ended on top, being viewed as one of the greatest living artists in France during that time. He left behind many fans but no pupils to carry on the Neoclassicism legacy. Jean Auguste Dominique Ingres Biography Jean Auguste Dominique Ingres Style and Technique Though Ingres was an artist known to follow his own impulses he was still a devout student of cultural conservatism, never straying completely from Neoclassical's new but traditional beliefs. Ingres' cool, meticulously drawn works constituted the stylistic antithesis of the emotionalism and colorism of the contemporary romantic school. Defining Characteristics: Nudes: Ingres was undoubtedly among the most experimental artists of the 20th century. His constant search for the idealized human form, particularly in the female body, was the cause for his highly controversial anatomical distortions. He made a habit of elongating backs, his nudes sometimes described by critics as "creatures not found in nature." The exception was La Source, in which Ingres displayed his model body in much more realistic proportions. This canvas was highly praised but in his later years, Ingres returned again to drawing with anatomical manipulations in The Turkish Bath. His quest for idealization was unending. Historical Paintings: Ingres' first historical paintings were done in the troubadour style, echoing the idealized atmosphere of the Middle Ages. In Napoleon I on His Imperial Throne, derivatives of medieval and Byzantine prototypes are seen; rigidity, flatness and lack of modeling. Ingres was accused by critics of purposely taking art back to its primitive state. Still, typical to troubadour style, Ingres also painted with a minute and illusionistic description of detail and was praised for his historical accuracy. Midway through his career Ingres adopted a more classical style after moving to Florence and studying the work of Raphael. His form and subject matter is more reflective of the Italian master's and his evolution as an artist is evident. Portraits: Though Ingres preferred history painting, he was also a well-known portraitist. In the sketches he'd drawn for tourists in his early years in Italy he portrayed an uncanny control of a delicate yet firm line and an inventiveness in posing sitters to reveal their personalities. He captured his figure with an impressive photographic likeness. Years later, as the most sought-after portraitist in France, Ingres painted the grace and splendor oh his female elite sitters, again with photographic realism. Color Palette: As a student of David, Ingres was under the firm belief that more attention should be paid to the drawing of lines rather than color. Though insistent on this belief, no attention to detail, especially concerning fabrics, was lost when Ingres' colors brought his subjects to life. Lighting: Ingres' earlier works were attacked for a flatness resulting from a lack of conventional modeling. The artist continued to paint in such a fashion up until his later years. His attention to lighting can be seen in the fabrics of his most elite sitters. Who or What Influenced Jean Auguste Dominique Ingres
Troubadour Style: Early in his career Ingres demonstrated an interest in the troubadour style. Taking its name from medieval troubadours, this was a French artistic movement aiming to regain the idealized atmosphere of the Middle Ages. Ingres' earlier art reflected derivatives of medieval and Byzantine prototypes as seen in Napoleon I on His Imperial Throne. Critics have attacked the severity, flatness and lack of modeling that Ingres continued to use on and off during his career. Typical to troubadour style, Ingres also painted with a minute and illusionistic description of detail, specifically in his rendering of fabrics and other technical means. Renaissance / Raphael: Ingres took a particular liking to the classical style of Raphael. After moving to Florence, Ingres adopted a more conventional style similar to his hero's. Raphael's influence can be seen in The Vow of Louis XIII and The Apotheosis of Homer, commissioned for the ceiling of the Louvre. The Apotheosis is a variation on the Classical pattern of Raphael's The School of Athens, painted for the Vatican. Ingres considered School of Athens a doctrine on canvas of his artist beliefs but in true neoclassical form, he revisited all classical themes with a more modern, scientific approach. Jacques-Louis David: Ingres worked in the studio of David, a most celebrated artist during his day. David taught that the basis of art was the contour and so he can be held partly responsible for the excessive emphasis on drawing that characterized European academic painting in the 19th century. His influence can be seen in Ingres' work more so than earlier Neoclassical artists whose initial style was not much more different than Rococo. David was interested in narrative painting rather than ideal grace and this notion is clearly echoed by Ingres. www.artble.com/artists/jean_auguste_dominique_ingres |
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