what student of david was known for his luxuriant female nudes including the exotic odalisque

What student of david was known for his luxuriant female nudes including the exotic odalisque
Ingres portrays a concubine in languid pose as seen from behind with distorted proportions. The small head, elongated limbs, and cool color scheme all reveal influences from Mannerists such as Parmigianino, [3] whose Madonna with the Long Neck was also famous for anatomical distortion.
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.

What student of david was known for his luxuriant female nudes including the exotic odalisque
Jean Auguste Dominique Ingres
Posthumous Reception:
The voyeurism, temptation and enigma of La Grande Odalisque is said to have had a profound effect on artists like Edgar Degas and Pablo Picasso. The works has also influenced Cindy Sherman and David Hockney.

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In the year 1814, Ingres created one of his most famed masterpieces, La Grande Odalisque. It was created in Paris and still remains there in the museum by the name of The Musée du Loure. The painting is well-known for its subject of fantasy and eroticism; she was a passive, mysterious and an unknown being to the Western world, which made her audience long for answers.

What student of david was known for his luxuriant female nudes including the exotic odalisque

Juliette Récamier (4 December 1777 – 11 May 1849) was a salonnière who had married Jacques-Rose Récamier (1751 – 1830), a wealthy older man and banker, on 24 April 1793. The marriage was never consummated and rumour has it that he was her father. In 1805, Jacques-Rose sustained financial losses. (See Juliette Récamier, Wikipedia.) He and Juliette had a salon where they entertained distinguished guests, but she retired at l’Abbaye-aux-Bois. The salons survived the French Revolution. Juliette had befriended François-René de Chateaubriand (4 September 1768 –4 July 1848), the author of Le Génie du Christianisme (1802), a literary monument that incorporated Atala and René, exotic novellas based on Chateaubriand’s stay in North America. He was an aristocrat and therefore fled France during part of the French Revolution. When Chateaubriand started to live as a recluse, Juliette Récamier was the only person he visited. He visited her every day. In David’s painting, she is leaning on a sofa now called a récamier, after her. By clicking on Madame Récamier, one can read what the Louvre has to say about this very famous painting.

  • Souvenirset correspondance tirées des papiers de Madame Récamieris a Gutenberg publication [EBook #25403]
  • Various items at Internet Archive
  • Orientalisme at the Metropolitan Museum of Art
  • Madame Récamier at the Louvre
  • The Zykes-Picot Agreement

In 1832 Delacroix traveled with a diplomatic mission to convince the sultan of Morocco to acquiesce to the French occupation of Algeria. The voyage was a revelation to the artist. In a variation of the myth of the noble savage, he claimed to have found a living antiquity in contemporary North African society, every bit as beautiful as classical Greece or Rome and far more inspiring for his artistic pursuits than the traditional trip to Italy. He filled seven sketchbooks with brilliant drawings and watercolors recording his experience. Throughout the rest of his career he created paintings from his sketches, notes, and remembrances. These mix ethnographic observation and orientalist fantasy in complex ways, though toward the end of his life they increasingly provided an escape from modern society into the more elemental world he believed North Africa to be.
Delacroix was the son of Charles Delacroix, a government administrator, and Victoire Oeben, the daughter of a successful cabinetmaker. It was rumored that his biological father was the prominent statesman Charles-Maurice de Talleyrand, whom Delacroix strongly resembled. Delacroix distinguished himself as a student at the prominent Lycée imperial (now Louis le Grand) before entering the studio of Pierre-Narcisse Guérin to train as a painter. There he was particularly influenced by Théodore Géricault. While still a student he produced a number of prints that reveal his early attraction to Liberal politics.



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