Ingres and the studio : women, painting, history

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書誌事項

Ingres and the studio : women, painting, history

Sarah Betzer

Pennsylvania State University Press, c2012

  • : cloth : alk. paper

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注記

Includes bibliographical references (p. [283]-297) and index

Summary: "An exploration of the portrait art of Jean-Auguste-Dominique Ingres, focusing on his studio practice and his training of students"-- Provided by publisher

内容説明・目次

内容説明

Jean-Auguste-Dominique Ingres has long been recognized as one of the great painters of the modern era and among the greatest portraitists of all time. Over a century and a half of scholarly writing on the artist has grappled with Ingres's singular identity, his relationship to past and future masters, and the idiosyncrasies of his art. Ingres and the Studio: Women, Painting, History makes a unique contribution to this literature by focusing on the importance of Ingres's training of students and the crucial role played by portraits-and their subjects-for Ingres's studio and its developing aesthetic project. Rather than understanding the portrait as merely a screen onto which the artist's desires were projected, the book insists on the importance of accounting for the active role of portrait sitters themselves. Through careful analysis of familiar and long-overlooked works, Ingres and the Studio traces a series of encounters between painters and portrait subjects in which women sitters-such as the artist Julie Mottez, art critic, salonniere, and historian Marie d'Agoult, and tragic actress Rachel-emerge as vital interlocutors in a shared aesthetic project.

目次

Contents List of Illustrations Acknowledgments Introduction 1 The Ingriste Portrait as History 2 Ingres's Studio and the Subjects of Art 3 Julie Mottez, Rome, and Ingriste Myths of Origin 4 Marie d'Agoult, the Aesthetics of Androgyny, and the Apotheosis of Ingrisme 5 Ingres's Studio Between History and Allegory: Rachel, Antiquity, and Tragedie Conclusion Notes Selected Bibliography Index

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