Ingres, J-A Dominique - Portrait of Mademoiselle Riviere - art postcard

Art Postcard

 

• Work of art title: Portrait de Mademoiselle Riviere (1780-1867)
• Artist (if known): Jean Auguste Dominique Ingres
• Media or other details:  painting
• Publisher / Gallery: Musee du Louvre, Paris
• Postally used:  no
• Stamp & postmark details (if relevant): na
• Size: Modern
• Notes & condition details:

NOTES:

Size: 'Modern' is usually around 6in x 4in / 'Old Standard' is usually around 5�in x 3�in. Larger sizes mentioned, but if you need to know the exact size please ask.

All postcards are not totally new and are pre-owned. It's inevitable that older cards may show signs of ageing and use, particularly sent through the post. Any faults other than normal ageing are noted.

Stock No.:A189

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Postage & Packing:

UK (incl. IOM, CI & BFPO): 99p

Europe: �1.60

Rest of world (inc. USA etc): �2.75

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NOTE: All postcards are sent in brand new stiffened envelopes which I have bought for the task. These are specially made to protect postcards and you may be able to re-use them. In addition there are other costs to sending so the above charge is not just for the stamp!

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Text from the free encyclopedia WIKIPEDIA may appear below to give a little background information:

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Jean-Auguste-Dominique Ingres (French pronunciation: [?an?ogyst d?minik ?~g?]; 29 August 1780 � 14 January 1867) was a French Neoclassical painter. Although he considered himself to be a painter of history in the tradition of Nicolas Poussin and Jacques-Louis David, by the end of his life it was Ingres's portraits, both painted and drawn, that were recognized as his greatest legacy.

A man profoundly respectful of the past, he assumed the role of a guardian of academic orthodoxy against the ascendant Romantic style represented by his nemesis Eug�ne Delacroix. His exemplars, he once explained, were ""the great masters which flourished in that century of glorious memory when Raphael set the eternal and incontestable bounds of the sublime in art ... I am thus a conservator of good doctrine, and not an innovator.""^[1] Nevertheless, modern opinion has tended to regard Ingres and the other Neoclassicists of his era as embodying the Romantic spirit of his time,^[2] while his expressive distortions of form and space make him an important precursor of modern art.

Ingres was born in Montauban, Tarn-et-Garonne, France, the first of seven children (five of whom survived infancy) of Jean-Marie-Joseph Ingres (1755�1814) and his wife Anne Moulet (1758�1817). His father was a successful jack-of-all-trades in the arts, a painter of miniatures, sculptor, decorative stonemason, and amateur musician; his mother was the nearly illiterate daughter of a master wigmaker. From his father the young Ingres received early encouragement and instruction in drawing and music, and his first known drawing, a study after an antique cast, was made in 1789.^[3] Starting in 1786 he attended the local school Ecole des Fr�res de l'Education Chr�tienne, but his education was disrupted by the turmoil of the French Revolution, and the closing of the school in 1791 marked the end of his conventional education. The deficiency of his schooling would always remain for him a source of insecurity.^[4]

In 1791, Joseph Ingres took his son to Toulouse, where the young Jean Auguste Dominique was enrolled in the Acad�mie Royale de Peinture, Sculpture et Architecture. There he studied under the sculptor Jean-Pierre Vigan, the landscape painter Jean Briant, and�most importantly�the painter Joseph Roques, who imparted to the young artist his veneration of Raphael.^[5] Ingres's musical talent was further developed under the tutelage of the violinist Lejeune. From the ages of thirteen to sixteen he was second violinist in the Orchestre du Capitole de Toulouse, and he would continue to play the violin as an avocation for the rest of his life.

Having been awarded first prize in drawing by the Academy, in August 1797 he traveled to Paris to study with Jacques-Louis David, France's�and Europe's�leading painter during the revolutionary period, in whose studio he remained for four years. Ingres followed his master's neoclassical example but revealed, according to David, ""a tendency toward exaggeration in his studies.""^[6] He was admitted to the Painting Department of the �cole des Beaux-Arts in October 1799, and won, after tying for second place in 1800, the Grand Prix de Rome in 1801 for his Ambassadors of Agamemnon in the tent of Achilles. His trip to Rome, however, was postponed until 1806, when the financially strained government finally appropriated the travel funds.