Albert Bierstadt
Albert Bierstadt's Oil Paintings
Albert Bierstadt Museum
Jan 8, 1830 - Feb 18, 1902. German-American painter.

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Jean Auguste Dominique Ingres
Louis-Francois Bertin (mk09)

ID: 21325

Jean Auguste Dominique Ingres Louis-Francois Bertin (mk09)
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Jean Auguste Dominique Ingres Louis-Francois Bertin (mk09)


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Jean Auguste Dominique Ingres

J. A. D. Ingres (1780-1867) was born in Montauban on August 29, 1780, the son of an unsuccessful sculptor and painter. French painter. He was the last grand champion of the French classical tradition of history painting. He was traditionally presented as the opposing force to Delacroix in the early 19th-century confrontation of Neo-classicism and Romanticism, but subsequent assessment has shown the degree to which Ingres, like Neo-classicism, is a manifestation of the Romantic spirit permeating the age. The chronology of Ingres's work is complicated by his obsessive perfectionism, which resulted in multiple versions of a subject and revisions of the original. For this reason, all works cited in this article are identified by catalogue.   Related Paintings of Jean Auguste Dominique Ingres :. | The Apotheosis of Homer | Portrait of Monsieur Bertin | The Murder of the Duke of Guise (mk05) | Turkish Bath | Mademoiselle Caroline Riviere (mk05) |
Related Artists:
TASSI, Agostino
Italian painter, Roman school (b. 1578, Roma, d. 1644, Roma).
Philippe Rousseau
Paris 1816 - Acquigny 1887. French Painter. French Painter. French painter. He may have received his artistic training in the studios of Gros and Jean-Victor Bertin, since he credited them as his masters when he exhibited at the Salon. He began exhibiting in 1834 with a View of Normandy (untraced) and for the next six Salons he exhibited landscapes. In 1844 he began to show still-lifes. In 1845 he was awarded a third-class medal, and in 1847 his still-lifes were admired by Th?ophile Thor?, who was one of the earliest critics to recognize Rousseau's debt to Chardin. This influence became the subject for his 1867 Salon entry, Chardin and his Models (untraced, see McCoubrey, no. 15). The work is far grander and more cluttered in its conception than most still-lifes by Chardin and alludes to the master by faithfully reproducing some of his favourite objects within a traditional table-top format rather than by an analysis of his compositional devices.
Adolph Tiedeman
1814-1876






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