which of the following is not true of ingres’ la grande odalisque

Which of the following is not true of ingres' la grande 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.
Another interpretation of this painting suggests that since the duty of some concubines was merely to satisfy the carnal pleasures of the sultan, this elongation of her pelvic area may have been a symbolic distortion by Ingres. While this may represent sensuous feminine beauty, her gaze, on the other hand, has been said to “[reflect] a complex psychological make-up” or “[betray] no feeling”. In addition, the distance between her gaze and her pelvic region may be a physical representation of the depth of thought and complex emotions of a woman’s thoughts and feelings. [6]

Which of the following is not true of ingres' la grande odalisque
The show has been organised in collaboration with the Musée du Louvre, which has loaned nearly half of the 70 paintings and drawings. Another large contingent comes from the Musée Ingres in Montauban, with others borrowed from French regional and international collections. The thematic hang explores Ingres’s motivations and strategies as he addressed different genres through his career. By grouping related works in this way, the exhibition succeeds in making some of the ‘bizarreries’ (as they were referred to by one contemporary critic) seem less bizarre, though many still remain unappealing to the modern eye.
Louis-François Bertin (1832), Jean-Auguste-Dominique Ingres. Musée du Louvre, Paris

Which of the following is not true of ingres' la grande odalisque
The critical response to the painting at the Salon of 1833, however, was less impressed by Ingres’s verisimilitude; instead, critics rejected this naturalism and the monotone palette. This restrained use of color and the austere background – a far cry from the opulence of his NapolГ©on on his Imperial Throne (1806) – was interpreted as sociopolitical commentary. Bertin, a journalist and ardent supporter of the July Monarchy, was an archetypal member of the ascending bourgeoisie. Ingres’s portrait was disparaged as overtly opportunistic and self-congratulatory, and was widely received as representative of the new, bourgeois era. The painter Г‰douard Manet went so far as to describe Portrait of Monsieur Bertin as the “Buddha of the self-satisfied, well-to-do, triumphant bourgeoisie.”
Ingres’s painting was inspired by art historical depictions of power; it was a strategy similarly employed by Napoleon himself, who often used symbolism associated with the Roman and Holy Roman empires to reinforce his rule. Pictorially, Ingres looks directly to the God the Father panel from Jan van Eyck’s Ghent Altarpiece (looted during the Napoleonic Wars, this altarpiece was part of the new MusГ©e NapolГ©on); replacing God with Napoleon, encircled by the golden laurel wreath and throne, Ingres suggests his sitter’s power, even divinity. This pose also recalled the legendary statue of Zeus at Olympia by the ancient Greek sculptor Phidias. Although that statue had been lost in antiquity, the Neoclassical interest in such relics made it a newly relevant and recognizable reference for the 19 th -century viewer.

Which of the following is not true of ingres' la grande odalisque
The deformation of the figure in Ingres’ painting is associated with a sideways curve of the trunk and a rotation of the pelvis which proved impossible to reproduce in the models. The visual effect of the excess length is to place the head further away from the pelvis. This impression is enhanced by the fact that the left arm of the Odalisque is shorter than the right.
2 Clinical Epidemiology Unit and Medical Informatics Department, Hôspital Européen Georges Pompidou, 20 rue Leblanc, 75908 Paris Cedex 15

Which of the following is not true of ingres' la grande odalisque
Jean-Auguste-Dominique Ingres ( / ˈ æ ŋ ɡ r ə , ˈ æ̃ ɡ r ə / ANG -grə, French: [ʒɑ̃n‿oɡyst dɔminik ɛ̃ɡʁ] ; 29 August 1780 – 14 January 1867) was a French Neoclassical painter. Ingres was profoundly influenced by past artistic traditions and aspired to become the guardian of academic orthodoxy against the ascendant Romantic style. Although he considered himself a painter of history in the tradition of Nicolas Poussin and Jacques-Louis David, it is his portraits, both painted and drawn, that are recognized as his greatest legacy. His expressive distortions of form and space made him an important precursor of modern art, influencing Picasso, Matisse and other modernists.
In 1802 he made his debut at the Salon with Portrait of a Woman (the current whereabouts of which is unknown). Between 1804 and 1806 he painted a series of portraits which were striking for their extreme precision, particularly in the richness of their fabrics and tiny details. These included the Portrait of Philipbert Riviére (1805), Portrait of Sabine Rivière (1805–06), Portrait of Madame Aymon (also known as La Belle Zélie; 1806), and Portrait of Caroline Rivière (1805–06). The female faces were not at all detailed but were softened, and were notable for their large oval eyes and delicate flesh colours and their rather dreamlike expressions. His portraits typically had simple backgrounds of solid dark or light colour, or of sky. These were the beginning of a series that would make him among the most celebrated portrait artists of the 19th century. [14]



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