LaurieAnnie's photos with the keyword: Ingres

Joséphine-Éléonore-Marie-Pauline de Galard de Brassac de Béarn (1825–1860), Princesse de Broglie,1851–53 Object Details Artist: Jean Auguste Dominique Ingres (French, Montauban 1780–1867 Paris) Date: 1851–53 Medium: Oil on canvas Dimensions: 47 3/4 × 35 3/4 in. (121.3 × 90.8 cm) Framed: 61 1/4 × 49 1/2 in. (155.6 × 125.7 cm) Classification: Paintings Credit Line: Robert Lehman Collection, 1975 Accession Number: 1975.1.186 Jean-Auguste-Dominique Ingres, the neo-classical French artist par excellence, painted this masterpiece toward the end of his life when his reputation as a portraitist to prominent citizens and Orléanist aristocrats had been long established. Pauline de Broglie sat for the artist’s final commission. Ingres captures the shy reserve of his subject while illuminating through seamless brushwork the material quality of her many fine attributes: her rich blue satin and lace ball gown, the gold embroidered shawl, and silk damask chair, together with finely tooled jewels of pearl, enamel, and gold. The portrait was commissioned by the sitter’s husband, Albert de Broglie, a few years after their ill-fated marriage. Pauline was stricken with tuberculosis soon after completion of the exquisite portrait, leaving five sons and a grieving husband. Through Albert’s lifetime, it was draped in fabric on the walls of the family residence. The portrait remained in the de Broglie family until shortly before Robert Lehman acquired it. Text from: www.metmuseum.org/art/collection/search/459106

Joséphine-Éléonore-Marie-Pauline de Galard de Brassac de Béarn (1825–1860), Princesse de Broglie,1851–53 Object Details Artist: Jean Auguste Dominique Ingres (French, Montauban 1780–1867 Paris) Date: 1851–53 Medium: Oil on canvas Dimensions: 47 3/4 × 35 3/4 in. (121.3 × 90.8 cm) Framed: 61 1/4 × 49 1/2 in. (155.6 × 125.7 cm) Classification: Paintings Credit Line: Robert Lehman Collection, 1975 Accession Number: 1975.1.186 Jean-Auguste-Dominique Ingres, the neo-classical French artist par excellence, painted this masterpiece toward the end of his life when his reputation as a portraitist to prominent citizens and Orléanist aristocrats had been long established. Pauline de Broglie sat for the artist’s final commission. Ingres captures the shy reserve of his subject while illuminating through seamless brushwork the material quality of her many fine attributes: her rich blue satin and lace ball gown, the gold embroidered shawl, and silk damask chair, together with finely tooled jewels of pearl, enamel, and gold. The portrait was commissioned by the sitter’s husband, Albert de Broglie, a few years after their ill-fated marriage. Pauline was stricken with tuberculosis soon after completion of the exquisite portrait, leaving five sons and a grieving husband. Through Albert’s lifetime, it was draped in fabric on the walls of the family residence. The portrait remained in the de Broglie family until shortly before Robert Lehman acquired it. Text from: www.metmuseum.org/art/collection/search/459106

Joséphine-Éléonore-Marie-Pauline de Galard de Brassac de Béarn (1825–1860), Princesse de Broglie,1851–53 Object Details Artist: Jean Auguste Dominique Ingres (French, Montauban 1780–1867 Paris) Date: 1851–53 Medium: Oil on canvas Dimensions: 47 3/4 × 35 3/4 in. (121.3 × 90.8 cm) Framed: 61 1/4 × 49 1/2 in. (155.6 × 125.7 cm) Classification: Paintings Credit Line: Robert Lehman Collection, 1975 Accession Number: 1975.1.186 Jean-Auguste-Dominique Ingres, the neo-classical French artist par excellence, painted this masterpiece toward the end of his life when his reputation as a portraitist to prominent citizens and Orléanist aristocrats had been long established. Pauline de Broglie sat for the artist’s final commission. Ingres captures the shy reserve of his subject while illuminating through seamless brushwork the material quality of her many fine attributes: her rich blue satin and lace ball gown, the gold embroidered shawl, and silk damask chair, together with finely tooled jewels of pearl, enamel, and gold. The portrait was commissioned by the sitter’s husband, Albert de Broglie, a few years after their ill-fated marriage. Pauline was stricken with tuberculosis soon after completion of the exquisite portrait, leaving five sons and a grieving husband. Through Albert’s lifetime, it was draped in fabric on the walls of the family residence. The portrait remained in the de Broglie family until shortly before Robert Lehman acquired it. Text from: www.metmuseum.org/art/collection/search/459106

Joséphine-Éléonore-Marie-Pauline de Galard de Brassac de Béarn (1825–1860), Princesse de Broglie,1851–53 Object Details Artist: Jean Auguste Dominique Ingres (French, Montauban 1780–1867 Paris) Date: 1851–53 Medium: Oil on canvas Dimensions: 47 3/4 × 35 3/4 in. (121.3 × 90.8 cm) Framed: 61 1/4 × 49 1/2 in. (155.6 × 125.7 cm) Classification: Paintings Credit Line: Robert Lehman Collection, 1975 Accession Number: 1975.1.186 Jean-Auguste-Dominique Ingres, the neo-classical French artist par excellence, painted this masterpiece toward the end of his life when his reputation as a portraitist to prominent citizens and Orléanist aristocrats had been long established. Pauline de Broglie sat for the artist’s final commission. Ingres captures the shy reserve of his subject while illuminating through seamless brushwork the material quality of her many fine attributes: her rich blue satin and lace ball gown, the gold embroidered shawl, and silk damask chair, together with finely tooled jewels of pearl, enamel, and gold. The portrait was commissioned by the sitter’s husband, Albert de Broglie, a few years after their ill-fated marriage. Pauline was stricken with tuberculosis soon after completion of the exquisite portrait, leaving five sons and a grieving husband. Through Albert’s lifetime, it was draped in fabric on the walls of the family residence. The portrait remained in the de Broglie family until shortly before Robert Lehman acquired it. Text from: www.metmuseum.org/art/collection/search/459106

Joséphine-Éléonore-Marie-Pauline de Galard de Brassac de Béarn (1825–1860), Princesse de Broglie,1851–53 Object Details Artist: Jean Auguste Dominique Ingres (French, Montauban 1780–1867 Paris) Date: 1851–53 Medium: Oil on canvas Dimensions: 47 3/4 × 35 3/4 in. (121.3 × 90.8 cm) Framed: 61 1/4 × 49 1/2 in. (155.6 × 125.7 cm) Classification: Paintings Credit Line: Robert Lehman Collection, 1975 Accession Number: 1975.1.186 Jean-Auguste-Dominique Ingres, the neo-classical French artist par excellence, painted this masterpiece toward the end of his life when his reputation as a portraitist to prominent citizens and Orléanist aristocrats had been long established. Pauline de Broglie sat for the artist’s final commission. Ingres captures the shy reserve of his subject while illuminating through seamless brushwork the material quality of her many fine attributes: her rich blue satin and lace ball gown, the gold embroidered shawl, and silk damask chair, together with finely tooled jewels of pearl, enamel, and gold. The portrait was commissioned by the sitter’s husband, Albert de Broglie, a few years after their ill-fated marriage. Pauline was stricken with tuberculosis soon after completion of the exquisite portrait, leaving five sons and a grieving husband. Through Albert’s lifetime, it was draped in fabric on the walls of the family residence. The portrait remained in the de Broglie family until shortly before Robert Lehman acquired it. Text from: www.metmuseum.org/art/collection/search/459106

The Grand Odalisque 1814 Oil on canvas, 91 x 162 cm Musée du Louvre, Paris The effects in Ingres' paintings largely depend on drawing and linearity, but he also used colour to supremely calculated effect. The cold turquoise of the silk curtain with its decoration of red flowers intensified the warm flesh tone of the Grande Odalisque. This nude was painted in 1814 for Napoleon's sister, Queen Caroline Murat. Unlike the realism of Goya's Maja, Ingres' nude is hardly intimate, the eroticism here emerging slowly from the reserve and the questioning, assessing glance of the naked woman. This is a tradition that goes back to Giorgione and Titian, but Ingres has painted a living woman and not an allegory of Venus. Nevertheless, the realistic intimacy is lessened by setting the scene in the distant world of the Orient. For many in the West, the idea of the harem with its available or exploited women trapped in their own closed world was as much proof of the fallen or primitive state of the East as was its supposed savagery. But it was also infinitely titillating. Ingres's picture is more than this, however. A sense of loss was inevitably embodied in French perceptions of the East after their defeat in Egypt, and it was perhaps because it sublimated unattainable desires that the theme of the Oriental nude, bather or harem girl gained such a haunting appeal. Ingres is remarkable for combining a frank allure with a chilling perfection of flesh. He had picked up his discreet hints of the harem — a turban here, a fan there — from Oriental artefacts and miniatures in the collections of Gros and Denon. They serve to locate his nude, who otherwise could really belong anywhere, in a sensuous Orient of the imagination. Text from: www.wga.hu/frames-e.html?/html/i/ingres/05ingres.html

Joséphine-Éléonore-Marie-Pauline de Galard de Brassac de Béarn (1825–1860), Princesse de Broglie,1851–53 Object Details Artist: Jean Auguste Dominique Ingres (French, Montauban 1780–1867 Paris) Date: 1851–53 Medium: Oil on canvas Dimensions: 47 3/4 × 35 3/4 in. (121.3 × 90.8 cm) Framed: 61 1/4 × 49 1/2 in. (155.6 × 125.7 cm) Classification: Paintings Credit Line: Robert Lehman Collection, 1975 Accession Number: 1975.1.186 Jean-Auguste-Dominique Ingres, the neo-classical French artist par excellence, painted this masterpiece toward the end of his life when his reputation as a portraitist to prominent citizens and Orléanist aristocrats had been long established. Pauline de Broglie sat for the artist’s final commission. Ingres captures the shy reserve of his subject while illuminating through seamless brushwork the material quality of her many fine attributes: her rich blue satin and lace ball gown, the gold embroidered shawl, and silk damask chair, together with finely tooled jewels of pearl, enamel, and gold. The portrait was commissioned by the sitter’s husband, Albert de Broglie, a few years after their ill-fated marriage. Pauline was stricken with tuberculosis soon after completion of the exquisite portrait, leaving five sons and a grieving husband. Through Albert’s lifetime, it was draped in fabric on the walls of the family residence. The portrait remained in the de Broglie family until shortly before Robert Lehman acquired it. Text from: www.metmuseum.org/art/collection/search/459106

Joséphine-Éléonore-Marie-Pauline de Galard de Brassac de Béarn (1825–1860), Princesse de Broglie,1851–53 Object Details Artist: Jean Auguste Dominique Ingres (French, Montauban 1780–1867 Paris) Date: 1851–53 Medium: Oil on canvas Dimensions: 47 3/4 × 35 3/4 in. (121.3 × 90.8 cm) Framed: 61 1/4 × 49 1/2 in. (155.6 × 125.7 cm) Classification: Paintings Credit Line: Robert Lehman Collection, 1975 Accession Number: 1975.1.186 Jean-Auguste-Dominique Ingres, the neo-classical French artist par excellence, painted this masterpiece toward the end of his life when his reputation as a portraitist to prominent citizens and Orléanist aristocrats had been long established. Pauline de Broglie sat for the artist’s final commission. Ingres captures the shy reserve of his subject while illuminating through seamless brushwork the material quality of her many fine attributes: her rich blue satin and lace ball gown, the gold embroidered shawl, and silk damask chair, together with finely tooled jewels of pearl, enamel, and gold. The portrait was commissioned by the sitter’s husband, Albert de Broglie, a few years after their ill-fated marriage. Pauline was stricken with tuberculosis soon after completion of the exquisite portrait, leaving five sons and a grieving husband. Through Albert’s lifetime, it was draped in fabric on the walls of the family residence. The portrait remained in the de Broglie family until shortly before Robert Lehman acquired it. Text from: www.metmuseum.org/art/collection/search/459106

Joséphine-Éléonore-Marie-Pauline de Galard de Brassac de Béarn (1825–1860), Princesse de Broglie,1851–53 Object Details Artist: Jean Auguste Dominique Ingres (French, Montauban 1780–1867 Paris) Date: 1851–53 Medium: Oil on canvas Dimensions: 47 3/4 × 35 3/4 in. (121.3 × 90.8 cm) Framed: 61 1/4 × 49 1/2 in. (155.6 × 125.7 cm) Classification: Paintings Credit Line: Robert Lehman Collection, 1975 Accession Number: 1975.1.186 Jean-Auguste-Dominique Ingres, the neo-classical French artist par excellence, painted this masterpiece toward the end of his life when his reputation as a portraitist to prominent citizens and Orléanist aristocrats had been long established. Pauline de Broglie sat for the artist’s final commission. Ingres captures the shy reserve of his subject while illuminating through seamless brushwork the material quality of her many fine attributes: her rich blue satin and lace ball gown, the gold embroidered shawl, and silk damask chair, together with finely tooled jewels of pearl, enamel, and gold. The portrait was commissioned by the sitter’s husband, Albert de Broglie, a few years after their ill-fated marriage. Pauline was stricken with tuberculosis soon after completion of the exquisite portrait, leaving five sons and a grieving husband. Through Albert’s lifetime, it was draped in fabric on the walls of the family residence. The portrait remained in the de Broglie family until shortly before Robert Lehman acquired it. Text from: www.metmuseum.org/art/collection/search/459106

Joséphine-Éléonore-Marie-Pauline de Galard de Brassac de Béarn (1825–1860), Princesse de Broglie,1851–53 Object Details Artist: Jean Auguste Dominique Ingres (French, Montauban 1780–1867 Paris) Date: 1851–53 Medium: Oil on canvas Dimensions: 47 3/4 × 35 3/4 in. (121.3 × 90.8 cm) Framed: 61 1/4 × 49 1/2 in. (155.6 × 125.7 cm) Classification: Paintings Credit Line: Robert Lehman Collection, 1975 Accession Number: 1975.1.186 Jean-Auguste-Dominique Ingres, the neo-classical French artist par excellence, painted this masterpiece toward the end of his life when his reputation as a portraitist to prominent citizens and Orléanist aristocrats had been long established. Pauline de Broglie sat for the artist’s final commission. Ingres captures the shy reserve of his subject while illuminating through seamless brushwork the material quality of her many fine attributes: her rich blue satin and lace ball gown, the gold embroidered shawl, and silk damask chair, together with finely tooled jewels of pearl, enamel, and gold. The portrait was commissioned by the sitter’s husband, Albert de Broglie, a few years after their ill-fated marriage. Pauline was stricken with tuberculosis soon after completion of the exquisite portrait, leaving five sons and a grieving husband. Through Albert’s lifetime, it was draped in fabric on the walls of the family residence. The portrait remained in the de Broglie family until shortly before Robert Lehman acquired it. Text from: www.metmuseum.org/art/collection/search/459106

Joséphine-Éléonore-Marie-Pauline de Galard de Brassac de Béarn (1825–1860), Princesse de Broglie,1851–53 Object Details Artist: Jean Auguste Dominique Ingres (French, Montauban 1780–1867 Paris) Date: 1851–53 Medium: Oil on canvas Dimensions: 47 3/4 × 35 3/4 in. (121.3 × 90.8 cm) Framed: 61 1/4 × 49 1/2 in. (155.6 × 125.7 cm) Classification: Paintings Credit Line: Robert Lehman Collection, 1975 Accession Number: 1975.1.186 Jean-Auguste-Dominique Ingres, the neo-classical French artist par excellence, painted this masterpiece toward the end of his life when his reputation as a portraitist to prominent citizens and Orléanist aristocrats had been long established. Pauline de Broglie sat for the artist’s final commission. Ingres captures the shy reserve of his subject while illuminating through seamless brushwork the material quality of her many fine attributes: her rich blue satin and lace ball gown, the gold embroidered shawl, and silk damask chair, together with finely tooled jewels of pearl, enamel, and gold. The portrait was commissioned by the sitter’s husband, Albert de Broglie, a few years after their ill-fated marriage. Pauline was stricken with tuberculosis soon after completion of the exquisite portrait, leaving five sons and a grieving husband. Through Albert’s lifetime, it was draped in fabric on the walls of the family residence. The portrait remained in the de Broglie family until shortly before Robert Lehman acquired it. Text from: www.metmuseum.org/art/collection/search/459106

Joséphine-Éléonore-Marie-Pauline de Galard de Brassac de Béarn (1825–1860), Princesse de Broglie,1851–53 Object Details Artist: Jean Auguste Dominique Ingres (French, Montauban 1780–1867 Paris) Date: 1851–53 Medium: Oil on canvas Dimensions: 47 3/4 × 35 3/4 in. (121.3 × 90.8 cm) Framed: 61 1/4 × 49 1/2 in. (155.6 × 125.7 cm) Classification: Paintings Credit Line: Robert Lehman Collection, 1975 Accession Number: 1975.1.186 Jean-Auguste-Dominique Ingres, the neo-classical French artist par excellence, painted this masterpiece toward the end of his life when his reputation as a portraitist to prominent citizens and Orléanist aristocrats had been long established. Pauline de Broglie sat for the artist’s final commission. Ingres captures the shy reserve of his subject while illuminating through seamless brushwork the material quality of her many fine attributes: her rich blue satin and lace ball gown, the gold embroidered shawl, and silk damask chair, together with finely tooled jewels of pearl, enamel, and gold. The portrait was commissioned by the sitter’s husband, Albert de Broglie, a few years after their ill-fated marriage. Pauline was stricken with tuberculosis soon after completion of the exquisite portrait, leaving five sons and a grieving husband. Through Albert’s lifetime, it was draped in fabric on the walls of the family residence. The portrait remained in the de Broglie family until shortly before Robert Lehman acquired it. Text from: www.metmuseum.org/art/collection/search/459106

Madame Jacques-Louis Leblanc (Françoise Poncelle, 1788–1839), 1823 Jean-Auguste-Dominique Ingres (French, 1780–1867) Oil on canvas; 47 x 36 1/2 in. (119.4 x 92.7 cm) Catharine Lorillard Wolfe Collection, Wolfe Fund, 1918 (19.77.2) There are more than two dozen preliminary drawings for this portrait, investigating a variety of poses (Musée Ingres, Montauban). Similar studies do not exist for the portrait of Madame Leblanc's husband (19.77.1). This portrait was exhibited alone at the Salon of 1834, where reviewers harshly criticized the figure's anatomical distortions. Text from: www.metmuseum.org/toah/hd/jldv/ho_19.77.2.htm

Madame Jacques-Louis Leblanc (Françoise Poncelle, 1788–1839), 1823 Jean-Auguste-Dominique Ingres (French, 1780–1867) Oil on canvas; 47 x 36 1/2 in. (119.4 x 92.7 cm) Catharine Lorillard Wolfe Collection, Wolfe Fund, 1918 (19.77.2) There are more than two dozen preliminary drawings for this portrait, investigating a variety of poses (Musée Ingres, Montauban). Similar studies do not exist for the portrait of Madame Leblanc's husband (19.77.1). This portrait was exhibited alone at the Salon of 1834, where reviewers harshly criticized the figure's anatomical distortions. Text from: www.metmuseum.org/toah/hd/jldv/ho_19.77.2.htm

Jacques-Louis Leblanc (1774–1846), 1823 Jean-Auguste-Dominique Ingres (French, 1780–1867) Oil on canvas; 47 5/8 x 37 5/8 in. (121 x 95.6 cm) Catharine Lorillard Wolfe Collection, Wolfe Fund, 1918 (19.77.1) This portrait of Leblanc and that of his wife, Françoise Poncelle Leblanc (19.77.2), were painted in 1823, shortly after Ingres met the couple in Florence. Madame Leblanc was lady-in-waiting to the grand duchess of Tuscany, Napoleon's sister Elisa Bacchiochi. Monsieur Leblanc was the secretary to the grand duchess and governor of the principality of Piombino. Degas, who had a sizable collection of works by Ingres, owned both portraits, which the Museum bought from his estate sale in 1918. Text from: www.metmuseum.org/toah/hd/jldv/ho_19.77.1.htm

Jacques-Louis Leblanc (1774–1846), 1823 Jean-Auguste-Dominique Ingres (French, 1780–1867) Oil on canvas; 47 5/8 x 37 5/8 in. (121 x 95.6 cm) Catharine Lorillard Wolfe Collection, Wolfe Fund, 1918 (19.77.1) This portrait of Leblanc and that of his wife, Françoise Poncelle Leblanc (19.77.2), were painted in 1823, shortly after Ingres met the couple in Florence. Madame Leblanc was lady-in-waiting to the grand duchess of Tuscany, Napoleon's sister Elisa Bacchiochi. Monsieur Leblanc was the secretary to the grand duchess and governor of the principality of Piombino. Degas, who had a sizable collection of works by Ingres, owned both portraits, which the Museum bought from his estate sale in 1918. Text from: www.metmuseum.org/toah/hd/jldv/ho_19.77.1.htm