'Soundscapes' opens next week. Book your tickets here:http://bit.ly/1IRHT2B
Ingres painted six works in our collection, but he was also an accomplished violinist. The French phrase for having a second string to one's bow is a 'violon d'Ingres'.
Ingres painted six works in our collection, but he was also an accomplished violinist. The French phrase for having a second string to one's bow is a 'violon d'Ingres'.
Join us on Saturday 14th February for a longer look at 'Madame Moitessier' by Ingres. Jacqui Ansell leads an in-depth look at the painting revealing what is often overlooked. Book your tickets here:http://bit.ly/1HRLy5B
Jean Auguste Dominique Ingres (French, 1780–1867) | Virgil Reading the Aeneid to Augustus, Livia, and Octavia | 1809/1819 (?)
《安格爾藝術全集》北京：金楓，2013 (取材1960年代蘇聯藝術科學院的著作。)
《安格爾藝術全集》北京：金楓，2013 (取材1960年代蘇聯藝術科學院的著作。)
French artist Jean-Auguste-Dominique Ingres died #onthisday in 1867. Here’s a sketch from his Rome period http://ow.ly/H1x6s
Height: 428.000 mm
Width: 380.000 mm (max.)
Width: 380.000 mm (max.)
PD 1949-2-12-6
Prints and Drawings
Jean-Auguste-Dominique Ingres, The Apotheosis of Napoleon I, a brown-wash pencil drawing
France, AD 1859
design for an imperial cameo
Ingres' first portrait of Napoleon Bonaparte had been commissioned by the city of Liège in 1803. He was to paint Napoleon several more times during his career. In 1859, Napoleon III (a nephew of Bonaparte) commissioned the sculptor Adolphe David (1828-96) to carve a companion cameo to the largest surviving cameo from the Classical world: the Grand Camée de la Chapelle Royale, now in the Bibliothèque Nationale, Paris.
Ingres (1780-1867) made this design for David in the shape of theGrand Camée, based on his design for a ceiling in the Hôtel de Ville, Paris. The ceiling, executed by Ingres in 1853 (but destroyed by fire in 1871), showed the same subject as this drawing. Although David worked on this commission for thirteen years, no suitable stone was ever found. The final cameo showed only the central group of figures.
The date (1821), inscribed by Ingres next to his name at the lower left of the drawing is the date of Napoleon's death and, presumably, his 'apotheosis', or promotion to divinity.
J. Rowlands, Master drawings and watercolou (London, The British Museum Press, 1984)
G. Tinterow and P. Conisbee (eds.), Portraits by Ingres: images of(New York, Metropolitan Museum of Art, 1999)
apotheosis
音節a・poth・e・o・sis 発音記号/əpὰθióʊsɪs｜əp`ɔθiˈəʊ‐/
【名詞】
| 用例 |
*****
BBC Imagination 2004 探討
Dance at Le Moulin de la Galette (Le Bal au Moulin de la Galette), 1876, Pierre-Auguste Renoir
In a preview to the exhibition 'Renoir Landscapes 1865-1883' at the National Gallery, London in spring 2007, The Guardian wrote that "Even Degas laughed at his friend's style, calling it as puffy as cotton wool," but that "if we're going to love him, we need to love his chocolate box qualities, too."[21]
Wikipedia article "Pierre-Auguste Renoir".
Columbia Encyclopedia: Renoir, Pierre Auguste
(pyĕr ōgüst' rənwär') , 1841–1919, French impressionist painter and sculptor, b. Limoges. Renoir went to work at the age of 13 in Paris as a decorator of factory-made porcelain, copying the works of Boucher. In 1862 he entered M. C. Gleyre's studio, where he formed lasting friendships with Bazille, Monet and Sisley. His early work reflected myriad influences including those of Courbet, Manet, Corot, Ingres and Delacroix. He began to earn his living with portraiture in the 1870s; an important work of this period was Madame Charpentier and her Children (1876; Metropolitan Mus.). Simultaneously he developed the ability to paint joyous, shimmering color and flickering light in outdoor scenes such as The Swing and the festive Moulin de la Galette (both: 1876; Louvre). Renoir traveled in Algeria and in Italy (1881–82), returning to Paris where a successful exhibition (1883) established him financially. He had gone beyond impressionism. His ecstatic sensuality, particularly in his opulent, generalized images of women, and his admiration of the Italian masters removed him from the primary impressionist concern: to imitate the effects of natural light. After a brief period, often termed “harsh” or “tight,” in which his forms were closely defined in outline (e.g., The Bathers, 1884–87; private coll.), his style of the 1890s changed, diffusing both light and outline, and with dazzling, opalescent colors describing voluptuous nudes, radiant children, and lush summer landscapes. From 1903, Renoir fought the encroaching paralysis of arthritis at the same time that his work attained its greatest sensual power and monumentality. Despite illness and personal tragedy he began to produce major works of sculpture (e.g., Victorious Venus, Renoir Mus., Cagnes-sur-Mer). Among his most celebrated paintings are: Luncheon of the Boating Party (1881; Phillips Coll., Washington, D.C.); Dance at Bougival (1883; Mus. of Fine Arts, Boston); Lady Sewing (Art Inst., Chicago); and Bather (1917–18; Philadelphia Mus. of Art). Renoir's work is represented in most of the important galleries in the world. The Art Institute of Chicago; the Barnes Collection, Merion, Pa.; Clark Institute, Williamstown, Mass.; and the Louvre have large collections. His son, the film director Jean Renoir, wrote a biography (tr. 1962). 這本傳記台灣遠景在80年代翻譯 我們討論過翻譯本的問題Bibliography
See studies by W. Gaunt (1983), D. Rouart (1985), and A. Distel (1995).
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