\paperw19995 \margr0\margl0 \plain \fs20 \f1 French painter.\b \par
\b0 After studying at the Toulouse Academy, from 1797 Jean-Auguste-Dominique Ingres was Jacques-Loui
s DavidÆs pupil in Paris, where he painted a number of portraits, including that of \i Mademoiselle RiviΦre\i0 (1805, Paris, Louvre), and obtained official commissions (\i First Consul Napoleon\i0 , 1804, LiΦge, MusΘe des Beaux-Arts). In 1806 he set off
for Rome until 1820, when he moved to Florence for four years. During his stay in Italy Ingres became the portraitist of members of the French community û \i Franτois-Marius-Granet\i0 (1807, Aix-en-Provence, MusΘe Granet) and \i Joseph-Antoine de Molte
do\i0 (1810, New York, Metropolitan Museum). Returning to Paris, he showed the \i Vow of Louis XIII\i0 (Montauban, cathedral of Notre-Dame) at the 1824 Salon, attracting great praise. Elected to the AcadΘmie des Beaux-Arts in 1825, he opened a highly s
uccessful studio and became one of the greatest French artists of the time. He worked as a portraitist of high society and received important official commissions, such as that for the \i Apotheosis of Homer\i0 (1827, Paris, Louvre). The painter returne
d many times to his favorite theme of the female nude, including \i La Grande Baigneuse\i0 (1808), \i La Grande Odalisque\i0 (1814), and \i The Turkish Bath\i0 (1862), all now in the Louvre. Ingres did not restrict himself to an evocation of the art o
f the past, but shared fully in the literary myths of his age. Along with the \i Oedipus and the Sphinx\i0 (1808, Paris, Louvre) and \i Jupiter and Tethys\i0 (1811, Aix-en-Provence, MusΘe Granet), he painted pictures of Romantic subjects (\i The Dream
of Ossian\i0 , 1813, Montauban, MusΘe Ingres; \i Ruggero freeing Angelica\i0 , 1819, Paris, Louvre) or of a sentimental character, influenced by the fashion of the troubadours (\i Paolo and Francesca\i0 , 1814, Chantilly, MusΘe CondΘ). In the painterÆs v
ast output, his numerous portraits hold a prominent place (\i The Comtesse de Haussonville\i0 , 1845, New York, Frick Collection; \i Madame Moitessier\i0 , 1856, London, National Gallery). With a freedom that went far beyond the limits of neoclassicism,
Ingres drew on the work of John Flaxman, on Greek archaism, on Hellenistic, Byzantine, and Gothic art, on Raphael, and on the primitives and Mannerists.
