Jean-Auguste-Dominique Ingres
Biography
Themes in Their Work
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The Valpinçon Bather
Jean-Auguste-Dominique Ingres (1808)
Portrait of the Princesse de Broglie
Jean-Auguste-Dominique Ingres (1853)
The Turkish Bath (Le Bain turc)
Jean-Auguste-Dominique Ingres
The Vow of Louis XIII
Jean-Auguste-Dominique Ingres (1824)
The Great Odalisque
Jean-Auguste-Dominique Ingres (1814)
Jean-Auguste-Dominique Ingres’s The Great Odalisque (1814) turns a reclining nude into an idealized, remote vision, polished to an <strong>enamel-like finish</strong> and staged with <strong>Orientalist</strong> props—turban, peacock-feather fan, blue curtain, and hookah. Commissioned by Caroline Murat and shown at the <strong>Salon of 1819</strong>, it fuses classical line with erotic fantasy, its elongated back and rotated shoulder declaring beauty as a constructed ideal <sup>[1]</sup><sup>[3]</sup>.
Grande Odalisque
Jean-Auguste-Dominique Ingres (1814)
In Jean-Auguste-Dominique Ingres’s Grande Odalisque (1814), a nude woman reclines against cool satin and a deep blue, patterned curtain, her spine drawn into an elegant, impossible arc. With a jeweled turban, bracelets, and a peacock-feather fan, she turns to meet the viewer’s look, poised yet distant. The image fuses <strong>Neoclassical idealization</strong> with <strong>Orientalist fantasy</strong>, privileging line and artifice over realism <sup>[1]</sup><sup>[2]</sup>.
The Apotheosis of Homer
Jean-Auguste-Dominique Ingres (1827)
Portrait of Madame Moitessier
Jean-Auguste-Dominique Ingres (1856)
Portrait of Monsieur Bertin
Jean-Auguste-Dominique Ingres (1832)
Oedipus and the Sphinx
Jean-Auguste-Dominique Ingres