Definitions for jean auguste dominique ingres
jean au·guste do·minique in·gres

Princeton's WordNetRate this definition:0.0 / 0 votes

1. Ingres, Jean Auguste Dominique Ingresnoun

   French classical painter (1780-1867)

WikipediaRate this definition:0.0 / 0 votes

1. jean auguste dominique ingres

   Jean-Auguste-Dominique Ingres ( ANG-grə, French: [ʒɑ̃ oɡyst dɔminik ɛ̃ɡʁ]; 29 August 1780 – 14 January 1867) was a French Neoclassical painter. Ingres was profoundly influenced by past artistic traditions and aspired to become the guardian of academic orthodoxy against the ascendant Romantic style. Although he considered himself a painter of history in the tradition of Nicolas Poussin and Jacques-Louis David, it is his portraits, both painted and drawn, that are recognized as his greatest legacy. His expressive distortions of form and space made him an important precursor of modern art, influencing Picasso, Matisse and other modernists. Born into a modest family in Montauban, he travelled to Paris to study in the studio of David. In 1802 he made his Salon debut, and won the Prix de Rome for his painting The Ambassadors of Agamemnon in the tent of Achilles. By the time he departed in 1806 for his residency in Rome, his style—revealing his close study of Italian and Flemish Renaissance masters—was fully developed, and would change little for the rest of his life. While working in Rome and subsequently Florence from 1806 to 1824, he regularly sent paintings to the Paris Salon, where they were faulted by critics who found his style bizarre and archaic. He received few commissions during this period for the history paintings he aspired to paint, but was able to support himself and his wife as a portrait painter and draughtsman. He was finally recognized at the Salon in 1824, when his Raphaelesque painting, The Vow of Louis XIII, was met with acclaim, and Ingres was acknowledged as the leader of the Neoclassical school in France. Although the income from commissions for history paintings allowed him to paint fewer portraits, his Portrait of Monsieur Bertin marked his next popular success in 1833. The following year, his indignation at the harsh criticism of his ambitious composition The Martyrdom of Saint Symphorian caused him to return to Italy, where he assumed directorship of the French Academy in Rome in 1835. He returned to Paris for good in 1841. In his later years he painted new versions of many of his earlier compositions, a series of designs for stained glass windows, several important portraits of women, and The Turkish Bath, the last of his several Orientalist paintings of the female nude, which he finished at the age of 83.

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1. jean auguste dominique ingres

   Jean Auguste Dominique Ingres was a renowned French Neoclassicist artist known for his paintings and drawings. Born on August 29, 1780, his work marked a major turning point in French art, moving away from the rococo period towards a more serious, classical style. He is celebrated for his nuanced attention to detail, his polished execution and his intense focus on the human form, which greatly influenced later 19th century French art. Among his most famous works are "The Grand Odalisque" and "The Apotheosis of Homer." Ingres passed away on January 14, 1867.

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1. Jean Auguste Dominique Ingres

   Jean-Auguste-Dominique Ingres was a French Neoclassical painter. Although he considered himself to be a painter of history in the tradition of Nicolas Poussin and Jacques-Louis David, by the end of his life it was Ingres's 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 Eugène 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.

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1. • Painter

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Numerology

1. Chaldean Numerology

   The numerical value of jean auguste dominique ingres in Chaldean Numerology is: 3

2. Pythagorean Numerology

   The numerical value of jean auguste dominique ingres in Pythagorean Numerology is: 6

References

1. ^ Princeton's WordNet
   http://wordnetweb.princeton.edu/perl/webwn?s=jean auguste dominique ingres
2. ^ Wikipedia
   https://en.wikipedia.org/wiki/Jean_Auguste_Dominique_Ingres
3. ^ ChatGPT
   https://chat.openai.com
4. ^ Wikidata
   https://www.wikidata.org/w/index.php?search=jean auguste dominique ingres