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 henli | Mme Moitessier | The vote of Luis XIII | Madeoiselle Caroline Riviere | bather of valpincon |
Related Artists:
anguissola sofonisba
The best known of the sisters, she was trained, with Elena, by Campi and Gatti. Most of Vasari's account of his visit to the Anguissola family is devoted to Sofonisba, about whom he wrote: 'Anguissola has shown greater application and better grace than any other woman of our age in her endeavours at drawing; she has thus succeeded not only in drawing, colouring and painting from nature, and copying excellently from others, but by herself has created rare and very beautiful paintings'. Sofonisba's privileged background was unusual among woman artists of the 16th century, most of whom, like Lavinia Fontana (see FONTANA (ii),(2)), FEDE GALIZIA and Barbara Longhi (see LONGHI (i), (3)), were daughters of painters. Her social class did not, however, enable her to transcend the constraints of her sex. Without the possibility of studying anatomy, or drawing from life, she could not undertake the complex multi-figure compositions required for large-scale religious or history paintings. She turned instead to the models accessible to her, exploring a new type of portraiture with sitters in informal domestic settings. The influence of Campi, whose reputation was based on portraiture, is evident in her early works, such as the Self-portrait (Florence, Uffizi). Her work was allied to the worldly tradition of Cremona, much influenced by the art of Parma and Mantua, in which even religious works were imbued with extreme delicacy and charm. From Gatti she seems to have absorbed elements reminiscent of Correggio, beginning a trend that became marked in Cremonese painting of the late 16th century. This new direction is reflected in Lucia, Minerva and Europa Anguissola Playing Chess (1555; Poznan, N. Mus.) in which portraiture merges into a quasi-genre scene, a characteristic derived from Brescian models.
Joachim Beuckelaer
1535-1574 Flemish Joachim Beuckelaer Galleries b Antwerp, c. 1534; dAntwerp, c. 1574). Flemish painter. He came from an Antwerp family of obscure painters and seems to have spent his entire life there. He trained in the studio of Pieter Aertsen, who in 1542 had married Beuckelaers aunt; he became an independent master and also married in 1560. His earliest known work dates from that year, and his development can be followed closely to 1570. The example of Beuckelaers master remained decisive throughout his career. Not only did he take over Aertsens new repertory of secular subjects, he also completely adopted his stylistic idiom and manner of painting, so that it can be difficult to distinguish the two hands. Beuckelaer was, however, by no means a slavish imitator, and as regards execution he fully bears comparison with Aertsen.
antoine pevsner
Antoine Pevsner (18 January 1886 ?C 12 April 1962) was a Belarusian and Russian sculptor and the older brother of Alexii Pevsner and Naum Gabo. Both Antoine and Naum are considered pioneers of twentieth-century sculpture. Pevsner was born in Klimavichy, Belarus. Among the originators of and having coined the term, Constructivism, and pioneers of Kinetic Art, they discovered a new use for metals and welding and made a new marriage of art and mathematics.