This week Begoña and I have had the opportunity to visit the exhibition Ingres at the Prado Museum, the first monographic exhibition in Spain on the work of the French painter, in collaboration with the Louvre Museum. See my previous post here.
The work of Ingres, only seemingly rooted in Academic painting, undoubtedly constitutes an important forerunner of the late 19th- and early 20th-century artistic revolutions. The heir to Raphael and Poussin, Ingres’ work anticipates both Picasso and anatomical distortion in art, inspiring the revitalisation of the 19th-century European art schools, particularly the Spanish.
The exhibition, which will be open to the public from Tuesday 24th November 2015 to Sunday 27th March 2016, offers a precise chronological presentation of Ingres’ work but also pays particular attention to his complex relationship with portraiture (characterised by his simultaneous rejection and admiration for it), which will be juxtaposed with his ongoing aim of being primarily recognised as a history painter. (Source: Museo del Prado)
I collect the following information from the programme:
Jean-August-Dominique Ingres (1780 – 1867) is one of the great masters of the history of art. Inspired by the characteristically Romantic for ideal beauty, which in the case of Ingres arose form the fascination with the grandeur of classical antiquity and the art of Raphael, he broadened the pictorial genres of portraiture, the nude and history painting. Ingres’ remarkable skills as a draughtsman, which reflects his constant aspiration to perfection, also make him outstanding in this field (bold letters are mine).