WPortrait of Madame Aymon, La Belle Zélie is an 1806 oil on canvas painting by the French artist Jean-Auguste-Dominique Ingres. The painting is one of Ingres' early painted portraits, completed just before his first stay in Rome. It first came to public notice during an 1867 Ingres exhibition in Paris, and was acquired by the Musée des Beaux-Arts de Rouen in 1870.
WPortrait of Monsieur Bertin is an 1832 oil on canvas painting by Jean-Auguste-Dominique Ingres. It depicts Louis-François Bertin (1766–1841), the French writer, art collector and director of the pro-royalist Journal des débats. Ingres completed the portrait during his first period of success; having achieved acclaim as a history painter, he accepted portrait commissions with reluctance, regarding them as a distraction from more important work. Bertin was a friend and a politically active member of the French upper-middle class. Ingres presents him as a personification of the commercially minded leaders of the liberal reign of Louis Philippe I. He is physically imposing and self-assured, but his real-life personality shines through – warm, wry and engaging to those who had earned his trust.
WBonaparte, First Consul is an 1804 portrait of Napoleon Bonaparte as First Consul by Jean-Auguste-Dominique Ingres. The painting is now in the collection of the Curtius Museum in Liège. Posing the hand inside the waistcoat was often used in portraits of rulers to indicate calm and stable leadership.
WThe Portrait of Comtesse d'Haussonville is an 1845 oil on canvas painting by the French Neoclassical artist Jean-Auguste-Dominique Ingres.
WPortrait of Madame Marcotte de Sainte-Marie is an 1826 painting by Jean-Auguste-Dominique Ingres of Suzanne Clarisse de Salvaing de Boissieu, wife of Marie Marcotte de Sainte-Marie. It is one of his earliest surviving portraits and one of the few portraits of women he produced in Paris straight after his return from Rome. Studies for it are now in the Louvre and a gallery in Montauban.
WPortrait of Madame de Senonnes is an 1814 painting by Jean-Auguste-Dominique Ingres. It shows Madame de Senonnes, née Marie-Genevieve-Marguerite Marcoz, viscountess of Senonnes. Marcoz was 31 when the portrait was completed. Ingres had earlier portrayed her in a drawing of 1813.
WPortrait of Madame Duvaucey is an 1807 oil on canvas painting by Jean-Auguste-Dominique Ingres. It shows Antonia Duvauçey of Nittis, the lover of Charles-Jean-Marie Alquier, then ambassador to the Holy See. Duvaucey is positioned in a flat pictorial space, gazing frontally at the viewer, dressed in lavish clothing and accessories. The portrait is the first female portrait painted during the artist's stay in Rome. Portrait of Madame Duvaucey is acclaimed for exhibiting her enigmatic charm, and as "not a portrait that gives pleasure..[but]...a portrait that gives rise to dreams".
WPortrait of Madame Ingres is a late period oil on canvas painting by the French Neoclassical artist Jean-Auguste-Dominique Ingres, completed in 1859. Depicting his second wife Delphine Ramel, it is Ingres' final painted portrait, apart from two self-portraits. It was probably painted to accompany Ingres's self-portrait of the same year, now in the Fogg Art Museum, Boston.
WThe portrait of Mademoiselle Caroline Rivière was painted in 1806 by the French Neoclassical artist Jean Auguste Dominique Ingres, and today hangs in the Louvre.
WPortrait of Charles Marcotte is an 1810 oil on canvas painting by the French Neoclassical artist Jean-Auguste-Dominique Ingres, completed during the artists first stay in Rome. Charles Marie Jean Baptiste Marcotte (1773-1864) was a long term friend, loyal supporter and adviser to Ingres, and commissioned a number of portraits of his family and friends, as well as works such as Odalisque with Slave (1839). He was 23 years in age when the portrait was painted, and serving as inspector general for Waters and Forests in Napoleonic Rome.
WPortrait of Caroline Murat, Queen of Naples is an 1814 oil on canvas painting by the French Neoclassical artist Jean-Auguste-Dominique Ingres. Caroline Murat, née Bonaparte, was the sister of Napoleon, and married Joachim Murat, a Marshal of France and Admiral of France, and later King of Naples. Caroline commissioned the portrait as part of an effort to convey her standing and worth to reign as Queen of Naples during an unstable political climate.
WNapoleon I on his Imperial Throne is an 1806 portrait of Napoleon I of France in his coronation costume, painted by the French painter Jean-Auguste-Dominique Ingres.
WPortrait of Amédée-David de Pastoret is an 1826 painting by Jean-Auguste-Dominique Ingres. It shows Amédée-David de Pastoret, a conseiller d'État and member of the Académie des Beaux-Arts. He was a close relation of the painter and commissioned several works, such as his The Dauphin's Entry Into Paris. It was painted the same year as Ingres' portrait of Madame Marcotte de Sainte-Marie - both works were badly received, precipitating a six-year period in which the artist produced no paintings. His next portrait would be his 1832 Portrait of monsieur Bertin.
WMadame Moitessier is a portrait of Marie-Clotilde-Inès Moitessier begun in 1844 and completed in 1856 by Jean-Auguste-Dominique Ingres. The portrait, which depicts Madame Moitessier seated, is now in the collection of the National Gallery in London, which acquired it in 1936.
WPortrait of Marie-Françoise Rivière is a c. 1805 oil on canvas painting by the French Neoclassical artist Jean-Auguste-Dominique Ingres.
WPortrait of Paul Lemoyne is an oil on canvas painting by the French Neoclassical artist Jean-Auguste-Dominique Ingres, completed between 1810–11. Paul Lemoyne (1784-1883) was a French sculptor, who visited Ingres during his first stay in Rome, when this portrait was executed. He is depicted as youthful, dashing, fiery, dark and handsome. Lemoyne is shown in an unguarded and informal pose, suggesting that the work completed as a gift for a friend rather than as a paid commission. The dark black and green background seems splashed on, and serves to accentuate the subject's dark facial features and black hair. Lemoyne looks disheveled, with rough hair and open shirt collars.
WPortrait of Philibert Rivière is a c. 1805 oil on canvas painting by the French Neoclassical artist Jean-Auguste-Dominique Ingres. It was commissioned by Philibert Rivière de L'Isle, an influential court official in the Napoleonic Empire, along with portraits of his wife, Philibert and their daughter, Caroline.
WThe Princesse de Broglie is an oil on canvas painting by the French Neoclassical artist Jean-Auguste-Dominique Ingres. Completed between 1851 and 1853, it shows Pauline de Broglie, who adopted the courtesy title princess, and married Albert de Broglie, the 28th Prime Minister of France in 1845. Pauline was aged 28 at the time of its completion. She was highly intelligent, widely known for her beauty, but suffered from profound shyness, and the painting captures her melancholia. Pauline contracted tuberculosis in her early 30s and died in 1860 aged 35. Although Albert lived until 1901, he was heartbroken and did not remarry.
WBaronne de Rothschild is an 1848 portrait by the French Neoclassical artist Jean-Auguste-Dominique Ingres. The sitter, Betty de Rothschild (1805–1886) had married her paternal uncle banker James Mayer de Rothschild and was one of the wealthiest women in Europe, and one of the foremost Parisian patrons of the arts. Her beauty and elegance were widely known and celebrated, and inspired Heinrich Heine's poem The Angel. For her portrait, which is painted in oil on canvas, Ingres sought to infuse symbols of her material wealth with the dignity, grace and beauty of Renaissance art, especially that of Raphael, while at the same time adhering to the command of line as practiced by Jan van Eyck. It is this combination which, according to art historians, places Ingres so far apart from his early modernist contemporaries.
WSelf-Portrait is an oil on canvas painting by the French Neoclassical artist Jean-Auguste-Dominique Ingres. The painting measures 25.2 x 20.9 inches and is part of the permanent collection of the Royal Museum of Fine Arts in Antwerp. This painting is one of the last portraits by Ingres.
WSelf-Portrait Aged 24 is an 1804 self-portrait painting by Jean-Auguste-Dominique Ingres, first exhibited at the Paris Salon of 1806. The painting now in the Musée Condé is considered to be either the 1804 portrait with modifications by the artist in from 1851 or an autograph copy by Ingres of a lost work. It is his earliest self-portrait, and he extensively reworked it between 1804 and 1851.
WSelf-Portrait at Seventy-Eight is an 1858 oil-on-canvas painting by the French Neoclassical artist Jean-Auguste-Dominique Ingres. It is one of the last of his many portraits, which he had always regarded as bothersome distractions from his true calling, history painting. The painting measures 24 3/8 x 20 1/8 inches and is in the Uffizi Gallery, Florence.