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 :. | La Grande Baigneuse | Madeoiselle Caroline Riviere | Vinasi | Portrait of Felibi | Portrait of old man |
Related Artists:
Howard Pyle
One of the great illustrators of the 19th century. American 1853-1911 was an American illustrator and writer, primarily of books for young audiences. A native of Wilmington, Delaware, he spent the last year of his life in Florence, Italy. In 1894 he began teaching illustration at the Drexel Institute of Art, Science and Industry (now Drexel University), and after 1900 he founded his own school of art and illustration called the Howard Pyle School of Illustration Art. The term the Brandywine School was later applied to the illustration artists and Wyeth family artists of the Brandywine region by Pitz (later called the Brandywine School). Some of his more famous students were Olive Rush, N. C. Wyeth, Frank Schoonover, Elenore Abbott, and Jessie Willcox Smith. His 1883 classic The Merry Adventures of Robin Hood remains in print to this day, and his other books, frequently with medieval European settings, include a four-volume set on King Arthur that cemented his reputation. He wrote an original work, Otto of the Silver Hand, in 1888. He also illustrated historical and adventure stories for periodicals such as Harper's Weekly and St. Nicholas Magazine.
Egid Quirin Asam
German Baroque Era Sculptor, 1692-1750,was a German plasterer and sculptor active during the period of the Late Baroque. Born in Tegernsee, Bavaria, Asam worked mainly together with his brother, the architect and painter Cosmas Damian Asam. Because of this, their common work is often attributed to the Asam Brothers. Asam died in Mannheim.
Antoine Plamondon
(ca. 1804-1895) was a Canadian artist who painted mainly portraits and religious images in 19th-century Quebec. Plamondon was born in 1804 (or 1802) at L'Ancienne-Lorette, Quebec, the son of the village grocer. He went to school in Saint-Roch, a suburb of Quebec City, after which he was apprenticed to Joseph Legare (1795-1855), a picture restorer and amateur painter. In 1826 Plamondon travelled to Paris where he studied with classical portraitists such as Paulin Guerin (1783-1855). Works from this period are scarce. In 1830, after the Louis-Philippe uprisings, Plamondon returned to Quebec. While his portraits were of living subjects, many of his religious paintings (commissioned by various churches and religious orders around Quebec City) were based on engravings of old masters. His portrait work was notable for his full-face, close-up, and tightly comosed style as well as a concentration on the latest style of clothing. His later portraits showed more roundness in the modelling and far more space in the composition. By 1850 Plamondon had moved to the country at Neuville, with his mother, a brother, and a sister, where he lived until the 1890s. Much of his work during this period were religious paintings, copies of old masters, done for local churches. Plamondon never married. He was a lifelong monarchist and supporter of the Conservative Party, a friend of Sir George-Étienne Cartier and Sir Étienne Tache, but broke with the Conservatives over the execution of Louis Riel. His 1882 self-portrait was probably his last work He died in Neuville in 1895.