large odalisque what kind of painting is it
For an interpretation of other pictures from the 19th and 20th centuries, see: Analysis of Modern Paintings (1800-2000).
La Grande Odalisque (1814) by J.A.D. Ingres.
Regarded as one of the greatest modern paintings of the 19th century.
Ingres is the last great artist of classical painting and the Grande Odalisque, therefore, is a 19th- century woman, a woman who isn’t subdued anymore, but is able to control her body and she uses it.
She is beautiful, has a confident look and an attitude that women learn to adopt right in that historic period full of changes.
The Grande Odalisque by Ingres has been housed in the Louvre Museum since 1899. My advice to you is to book you entrance ticket to the Louvre in advance in order to skip the line.
You can book with Louvre Museum E-Ticket.
Grande Odalisque attracted wide criticism when it was first shown. It is renowned for the elongated proportions and lack of anatomical realism. The work is owned by the Louvre Museum, Paris which purchased the work in 1899.
Stemming from the initial criticism the painting received, the figure in Grande Odalisque is thought to be drawn with “two or three vertebrae too many.”   Critics at the time believed the elongations to be errors on the part of Ingres, but recent studies show the elongations to have been deliberate distortions.  Measurements taken on the proportions of real women showed that Ingres’s figure was drawn with a curvature of the spine and rotation of the pelvis impossible to replicate.  It also showed the left arm of the odalisque is shorter than the right. The study concluded that the figure was longer by five instead of two or three vertebrae and that the excess affected the lengths of the pelvis and lower back instead of merely the lumbar region. 
Ingres actually returned to Neo-Classicism after having rejected the lessons of his teacher, David, and after having laid the foundation for the emotive expressiveness of Romanticism, the new style of Gericault and the young Delacroix that Ingres would eventually defend against. Ingres’ early Romantic tendencies can be seen most famously in his painting, La Grande Odalisque of 1814.
Here a languid nude is set in a sumptuous interior. At first glance this nude seems to follow in the tradition of the Great Venetian masters, see for instance, Titian’s Venus of Urbino of 1538. But upon closer examination, it becomes clear that this is no classical setting.
Caroline Murat (1782-1839), Napoleon’s sister and the queen of Naples, commissioned this painting in 1813. It was probably a matching piece to another nude, La Dormeuse de Naples, destroyed in 1815. La Grande Odalisque was painted in Rome, where Ingres had arrived in 1806 to complete a fellowship at the Académie de France. The artist remained in Italy until 1824 because his art was unpopular in Paris. The works he exhibited at the Salon of 1806 (Caroline Rivière and Madame Rivière, Louvre), and the paintings he sent from Rome (The Valpinçon Bather, and Oedipus and the Sphinx, Louvre) were criticized. The exhibition of La Grande Odalisque at the Salon of 1819 confirmed that the critics didn’t understand Ingres’s style. They admonished him for disregarding anatomical reality, which set him apart from his teacher, Jacques Louis David (1748-1825).
© 2005 Musée du Louvre / Angèle Dequier