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![]() Bather ![]() The Grand Odalisque
| Ingres is considered the first great radical of the nineteenth century, creating a personal, sensual style that moved away from the Neoclassicists of the late eighteenth century by evolving a new, individual idealization of form through an expressive use of line. Since oil paint tends to become transparent with age, Ingres used pale preparations, which ensured luminosity and durability. Although harder to work with, Ingres felt paler grounds had obvious advantages. He also preferred a strong, fairly coarse canvas. This was a rarity for neoclassical painters who had followed the common rule that figure painting should be executed only on finely woven canvas so the weave was invisible from a distance. In addition to pale grounds and rough canvas, Ingres also began using white in the shadows. Chiaroscuro painters felt that transparency was essential for producing depth. Ingres' innovative use of white created a new low-relief flatness and the opaque shadows reflected his preference for soft, full lighting, differing from the dramatic cross-light commonly found in other works of the day.
Ingres' paint was thin and fluid; his touch lively and descriptive and only blended in the figures. He was often criticized as a painter of the monochromatic, using color only as an afterthought but those flat areas of bright color have a powerful emotive and seductive effect not yet seen in paintings of that century which influenced many later artists, most notably Edgar Degas. Bibliography: Ingres, Georges Vigne, 1995 Techniques of the Great Masters of Art, Waldemar Januszczak, 1996 Also see: Jean Auguste Dominique Ingres Biography and Paintings We invite you to read and save any images on our site. When you have time, please visit our
| ![]() La Source ![]() Oedipus and Sphinx |
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