- 27 September 2017−2 JulyTheatre of powerSmall gallery of the Louvre as part of its third season, presents the exhibition, which will illustrate the close relationship between political power and art. As is known, since ancient times to improve theirParis, France, Region Ile-de-France, Louvre Museum, 11 Rue de Mézières
- 11 February−20 MayДега: Страсть к совершенствуДенверский музей искусств представляет выставку «Дега: Страсть к совершенству» . Экспозиция демонстрирует как известные, так и менее популярные работы французского художника Эдгара Дега за период с 1855 по 1906 годDenver, United States, Colorado, The Denver art Museum, 100 W 14th Ave Pkwy
Born August 29, 1780 in Montauban on the South-West of France. He studied at the Toulouse Academy of fine arts. After graduation from the Academy moved to Paris, where in 1797 became a pupil of Jacques-Louis David. In 1806−1820 studying and working in Rome, and then moved to Florence, where he spent another four years. In 1824 returned to Paris and opens school of painting. In 1835 again returned to Rome as Director of the French Academy. From 1841 until the end of life living in Paris. He died on January 14, 1867, he was buried at the Paris cemetery of Pere-Lachaise.
Jean Auguste Dominique Ingres was a follower of the classical ideals and artist deeply original, alien to any falsehood, boredom and routine.
Ingres was born in the town of Montauban in the South of France. His father was a sculptor-designer and painter. In 1796, Ingres moved to Paris, entered the workshop of Jacques Louis David, but about 1800 forever quarreled with his teacher. In 1802 Ingres was awarded the Rome prize and won the right to go to Italy at the expense of the French government, but the trip was postponed indefinitely because of the limited budget. The artist remained in Paris, earning a living portraits. Ingres
always got them reluctantly, considering portrait too small for themselves, though in this genre he reached the highest skill.
In 1806 Ingres was finally able to go to Italy. When the expired period of four years of training, he remained abroad at their own risk. The young painter plunged into the study of the artistic heritage of antiquity and the Renaissance. Ingres was trying to convey in painting decorative possibilities of different types of the old art: expressive silhouettes of the ancient Greek vazopisi — in the paintings of Oedipus and the Sphinx" (1808) and «Jupiter and Thetis» (1811); plastic sculptural relief — in works «the Dream of Ossian» (1813), «Virgil, reading „Aeneid“ the family of the Emperor Augustus» (1819); rich colors Gothic thumbnails — in the film «Paolo and Francesca» (1819).
In 1824 Ingres returned to France. In monumental painting, commissioned by the Minister of internal Affairs of France — «the Vow of Louis XIII, asking for the intercession of the mother of God for the Kingdom of France» (1824), he imitated the picturesque style of his idol, the then public, the Italian masters of Renaissance-Raphael. The painting, exhibited at the Paris Salon of 1824, together with the «massacre of Chios» Eugene Delacroix, brought the Ingres first big success. From now on, French painters opponents of romanticism saw him as their leader.
At the same time the Ingres was commissioned paintings for the Cathedral of the French city of Autun, the Artist was supposed to portray the town’s patron Saint Simforian. This noble resident Roman colony, marked the beginning of Autun, in the late II century were executed for what he professed Christianity. On the painting «the Torment of Saint Simforian» (1834) Ingres worked for ten years, making more than one hundred sketches. Perhaps Ingres has set a too difficult task: he wanted to portray a large mass of people, while in motion. The crowd leading the Saint to execution outside the gate seems chaotic jumble of shapes. However, against this background stands the Holy mother of Simforian that accompanies Martyr to exploit, standing on the fortress wall. Exposing the painting in the Cabin, Ingres was counting on success, however, the audience reacted to his work indifferently.
Frustrated Ingres hurried to leave Paris; in 1834, he was appointed Director of the French Academy in Rome, and for six years he headed the center of foreign internships of young French artists.
In the painting «odalisque and the slave girl» (1839) Ingres evidently competed with Delacroix: chose the song, close to the «Algerian women in their rooms"and decided it differently. Motley, multi-ink colour paintings result Hobbies artist Oriental miniature.
In 1841 the artist returned in Paris. Now he avoided participation in exhibitions, but many worked for private persons To him constantly treated orders son of king Louis Philippe Ferdinand Philip, Duke of Orleans. The Duke was a person colorless so thought most of his contemporaries, but not Ingres, wrote in 1842, his portrait. We cannot say that the artist sings the appearance of the Duke, he just deftly picked up the lighting, background, posture, dress, to the noble posture and charm of the customer did not go unnoticed.
„Portrait of Louisa d’haussonville“ (1842−1845 years.) emphatically modest — this beautiful and educated lady didn’t need the idealization. And yet, when the painting was finished, someone said mistress Should be one, Mr. Ingres was in love with you, if you wrote». In characteristic gesture Countess d’haussonville, which the artist borrowed from the ancient Roman paintings, merged humility and mystery. The artist found for this portrait unexpected background — mirror. It gives a fascinating picture of the depth and allows you to see the figure of the heroine in two angles.
In 1856 Ingres finished the picture «Source», conceived by him in 20-s in Italy. In graceful flower girl’s body embodies purity and generosity of nature. Angrenskiy «Source» shows that in the sixty years of age, the author has kept fresh feeling, right eye and a steady hand; according to the Dutch painter Vincent van Gogh, «this thing has always been, is and will be something truly new.»
Creative biography of Ingres takes up the entire first half of the XIX century: he studied with Jacques Louis David and survived by Eugene Delacroix. Master hostile attitude to romantics who have rebelled against the academic traditions; the advocates of the neo-classical thought of him as a leader. However, in his works Ingres implemented its own, deeply personal idea of beauty. He was internally close to the masters of the second half of the XIX — XX centuries.