Magazine of Art 44, no. A modern-day goddess enthroned in luxury, she sits impassively, fully confident of her place in society.Download a low-resolution copy of this image for personal use.License and download a high-resolution image for reproductions up to A3 size from the National Gallery Picture Library. On meeting … By the time he departed in 1806 for his residency in Rome, his style—revealing his close study of Italian and Flemish Renaissance masters—was fully developed, and would change little for the rest of his life. The portrait was commissioned in 1844 to celebrate the marriage two years earlier of Marie Clotilde-Inès de Foucauld to the wealthy merchant, Sigisbert Moitessier.
On the pedestal beneath it, the letters ROM refer to Norvins’ position in Rome. On the pedestal beneath it, the letters ROM refer to Norvins’ position in Rome. Having first selected a dark and then a yellow dress, he finally chose one of lavish floral chintz made from Lyonnaise silk. The room has the ambiance of a luxurious eighteenth-century salon with its Japanese Imari vase, silk hand-screen, ornate fan, Louis XV console table, gilded mirror frame and padded damask sofa (with a tiny cupid peeking over Madame Moitessier’s left shoulder). Monsieur de Norvins had recently been appointed Chief of Police in Rome when Ingres painted his portrait in 1811. Open daily 11am–6pm Friday until 9pm. Although he considered himself to be a painter of history in the tradition of Nicolas Poussin and Jacques-Louis David, by the end of his life it was Ingres's portraits, both painted and drawn, that were recognized as his greatest legacy. He is presented as a reserved, even forbidding, figure who closely scrutinises us as we look at him. The skull and bones at the bottom of the picture show the fate of those who have previously failed the test. She is the embodiment of luxury and style during the Second Empire, which saw the restoration of the French imperial throne and the extravagant display of wealth. The reflection of the room’s doors and panels and, yet more confusingly, the reflection of the mirror facing Madame Moitessier in the mirror behind her, further add to this ambiguity. Following the fall of Napoleon in April 1814 and the return to power of the Bourbon monarchy, any evidence of overt loyalty to the former Emperor would have been potentially harmful to Norvins’ political career and to Ingres, as an ambitious young artist. He is presented as a reserved, even forbidding, figure who closely scrutinises us as we look at him.
National Gallery of Art Ultra-High-Resolution Photography of Paintings Working with partners in science, engineering, and industry, the division of imaging and visual services at the National Gallery of Art has been modern-izing its tools to increase resolution in its photography of paintings. The death of Madame Moitessier’s father, also in 1849, and her pregnancy with her second child further extended the delay.During this time the painting underwent major revisions, often with the active collaboration of Madame Moitessier.
His expressive distortions of form and space make him an important precursor of modern art, whose work influenced Picasso and Matisse and other modernists. However, closer inspection of the mirror reveals some oddities. Her distinctive pose is based upon a Roman wall...
Completed relatively quickly in 1851, this is a more solemn picture of Madame Moitessier wearing a black ball gown as she stands at a mantelpiece (now in the National Gallery of Art, Washington).Despite these delays, it’s likely that Ingres decided upon Madame Moitessier’s pose right from the start. He enjoyed an immensely successful career, and managed a thriving studio with many pupils.Jean-Auguste-Dominique Ingres (French: [ʒɑnoɡyst dominik ɛ̃ɡʁ]; 29 August 1780 – 14 January 1867) was a French Neoclassical painter. In these uncertain times we need your support more than ever.
Oedipus stands before the Sphinx, who challenges him to solve a riddle before he can enter the city of Thebes, just visible in the distance. Her distinctive pose is based upon a Roman wall painting from Herculaneum depicting the goddess of Arcadia.The portrait was commissioned in 1844 to celebrate the marriage two years earlier of Marie Clotilde-Inès de Foucauld to the wealthy merchant, Sigisbert Moitessier. As if to compensate for the lost bust, Ingres added a bronze sculpture of the Roman goddess, Minerva, on the right.At first glance, the rather formal pose and opulent setting might suggest this is a portrait of a wealthy individual or perhaps an aristocrat.