the grand odalisque by jad ingres exemplifies which characteristic of romanticism
Death of Marat (1793) by Jacques-Louis David.
For more about the impact of Ingres’ art on twentieth century artists, see: Classical Revival in modern art (1900-30).
Name: The Death of Sardanapalus (La Mort de Sardanapale) (1827)
Artist: Eugene Delacroix (1798-1863)
Medium: Oil painting on canvas
Genre: History painting (Orientalist)
Location: Louvre Museum, Paris
La Grand Odalisque (1814) by J.A.D. Ingres
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. 
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.
ois Marius Granet (1807), which is more a representation of the character of the subject than a photographic likeness. His later portraits, however, have more of the solidity and photographic realism of David, as seen in Ingres’ portrait of Louis Berlin (1832), which, though realistic in portrayal, still conveys a sense of the subject’s character.”
David’s foremost student, Ingres (17801867) adhered to the principles of Neoclassicism throughout his life. He studied in Rome and was fascinated by the art of Raphael and Greco‑Roman sculpture. In Florence, he was impressed with the Mannerists and paintings of Fra Angelico. He studiously avoided any emotion in his art and was critical of the Romanticists and Rubens.
Despite these art historical precedents, Ingres’s portrait was soundly criticized at the Salon of 1806; it was even dismissed as “unintelligible” by his own teacher, Jacques-Louis David. As the Neoclassical style began to ebb, with tastes preferring a more natural and contemporary representation of power, Ingres’s complex compendium of historical motifs seemed retrograde and outdated. Even though it was the target of scorn, with this complicated web of iconography and symbolism, Ingres ushered in a new twist on the Neoclassical and demonstrated his interests in art historical references and stylistic experiments.
The eldest child of the sculptor, painter, and musician Jean-Marie-Joseph Ingres, Jean-Auguste-Dominique was born in 1780 in Montauban, a small town in southern France. Under his father’s tutelage, he showed a talent for violin and a proclivity for drawing at a young age; his earliest-known signed drawing dates to 1789. His Parisian education at the CollГЁge des FrГЁres des Г‰coles ChrГ©tiennes was cut short when the school closed during the French Revolution. In 1791, Ingres’s father sent him to nearby Toulouse, enrolling him in the AcadГ©mie Royale de Peinture, Sculpture et Architecture where he studied with the painters Guillaume-Joseph Roques and Jean Briant and the sculptor Jean-Pierre Vigan. He also continued his interest in music, performing second violin with the Orchestre du Capitole de Toulouse from 1794 to 1796. Ingres’s musical abilities would later give birth to the phrase “Ingres’s violin,” used to describe a prodigious, but secondary talent, overshadowed by one’s primary occupation; the term would later serve as the title for a famous 1924 Surrealist photograph by Man Ray.