French Neoclassical Painter, 1780-1867 was a French Neoclassical painter. Although he considered himself a painter of history in the tradition of Nicolas Poussin and Jacques-Louis David, by the end of his life it was Ingres' portraits, both painted and drawn, that were recognized as his greatest legacy. A man profoundly respectful of the past, he assumed the role of a guardian of academic orthodoxy against the ascendant Romantic style represented by his nemesis Eug??ne Delacroix. His exemplars, he once explained, were "the great masters which flourished in that century of glorious memory when Raphael set the eternal and incontestable bounds of the sublime in art ... I am thus a conservator of good doctrine, and not an innovator." Nevertheless, modern opinion has tended to regard Ingres and the other Neoclassicists of his era as embodying the Romantic spirit of his time, while his expressive distortions of form and space make him an important precursor of modern art..  Related Paintings of Jean-Auguste Dominique Ingres :. | Portrait of Yakilusi | Miss Kalolin | The Ambassadors of Agamemnon in the Tent of Achilles | Portrait of Bier | Lady of Hery |
Related Artists:
Emma Sandys
Emma Sandys (born Mary Ann Emma Sands) (1843 - 1877) was a 19th-century English painter. Sandys was born in Norwich, England in 1843. She was taught by her father, Anthony Sands, and worked in portraits in both oil and chalk, often in medieval or period dress. Her earliest dated painting is marked 1863 and she exhibited her works in both London and Norwich between 1867 and 1874. Sandys did most of her work around Norwich but may have spent time in the studio of her brother, Frederick Sandys, in London. She died Norwich in November 1877.
Thomas Wilmer Dewing
1851-1938 Thomas Wilmer Dewing Gallery was an American painter working at the turn of the 20th century. He was born in Newton Lower Falls, Massachusetts. He studied at the Acad??mie Julian in Paris, and later settled into a studio in New York City. He married Maria Oakey Dewing, an accomplished painter with extensive formal art training and familial links with the art world. He is best known for his tonalist paintings, a sub-genre of American art that was rooted in English Aestheticism. Dewing's preferred vehicle of artistic expression is the female figure. Often seated playing instruments, writing letters, or engaged in other impassive actions and situated in gauzy, dreamy interiors, the figures remain remote and distant to the viewer. These scenes are infused with a color that pervades the entire picture, setting tone and mood. The ethereal delicacy and subtle color harmonies of Dewing's paintings have not met with universal approval: some feminist critics have lambasted Dewing's work as being misogynistic; he rarely painted anything other than the female figure, vacant of expression, languishing in sumptuous clothing. Tonalism quickly came to be considered outdated with the advent of modernism and abstraction in art, though Dewing was successful in his own day. His art was considered extremely elegant, and has undergone a subtle revival in the last 10 years or so. Dewing was a member of the Ten American Painters, a group of American Impressionists who seceded from the Society of American Artists in 1897. He spent his summers at the art colony in Cornish, New Hampshire.
Antoine Berjon
French Romantic Painter, 1754-1843,French painter, teacher and designer. According to his uncorroborated 19th-century biographer J. Gaubin, he was intended for holy orders and began studying flower painting as a novice (Rev. Lyon., i, 1856). Certainly he studied drawing under the sculptor Antoine-Michel Perrache (1726-79) and worked for Lyon's silk industry as a textile designer, visiting Paris annually, ostensibly to keep abreast of the latest fashions. He first exhibited at the Paris Salon of 1791 and settled in Paris in about 1794, probably as a consequence of the catastrophic siege and destruction of Lyon by revolutionary forces the previous year. Initially he eked out a precarious living decorating snuff-boxes and painting miniatures, supported by friends such as Marceline Desbordes-Valmore, the poetess, and the miniature painter Jean-Baptiste Augustin, to whom Berjon dedicated The Gift (1797; Lyon, Mus. B.-A.). He contributed to seven Paris Salons between 1796 and 1819 and again in 1842, and he had built up a considerable reputation for his work by the early 19th century.