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Vintage-Views Antique Prints and Maps :: Antique Prints :: Genre :: TWO PRETTY SLAVE GIRLS WITH HOOKAH,1878 Print

TWO PRETTY SLAVE GIRLS WITH HOOKAH,1878 Print
TWO PRETTY SLAVE GIRLS WITH HOOKAH,1878 Print
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TWO PRETTY SLAVE GIRLS WITH HOOKAH,1878 Antique Print

THE SLAVE AND HER SLAVE
FROM AN ORIGINAL PAINTING BY JEAN AUGUSTE DOMINIQUE INGRES

OVERALL SIZE OF PRINT INCLUDING BORDERS: 10 3/7 x 7 1/2
SCAN ABOVE MINIMIZED TO FIT BROWSER

CONDITION: Clear and sharp with beautiful detail. As scanned. Blank on the back. Heavier paper

Jean Auguste Dominique Ingres ("Ang", rhymes with "bang", with a hint of the "r", but the final "es" is not pronounced) (August 29, 1780 - January 14, 1867) was a French Neoclassical painter.Ingres was born in Montauban, Tarn-et-Garonne, France. His father was a sculptor and violinist, and instructed the young Ingres in all these disciplines. He showed an early talent for music — a performance of a concerto of Giovanni Battista Viotti was applauded at the theatre of Toulouse. In 1791, Ingres entered the Royal Academy of Arts in Toulouse, where he studied art under Joseph Roques, sculpture under J. Vigan, and landscape painting under Briant.In 1796, Ingres went to Paris to study with Jacques-Louis David, under whose tutelage he remained for four years, finally winning the Grand Prix in 1801 for Ambassadors of Agamemnon in the tent of Achilles. He parted company with David over a difference of opinion on style; Ingres's preference was for shapes flat and linear, with a focus on contour. La grande odalisque, 1814, Louvre. The texture of the fabric and the smooth skin of the girl are painted in intricate detail. The elongated features of the subject, who has apparently too many vertebrae, are reminiscent of old Mannerist painters. Ingres was searching for the pure form of his models. In 1802 he exhibited Girl after bathing and in 1804 a Portrait of the First Consul. These were followed in 1806 by Napoleon on his Imperial throne, and a series of portraits of the Rivière family. These works produced a disturbing impression on the public. It was clear that the artist was someone to be reckoned with; his talent, the purity of his line, and his power of literal rendering were generally acknowledged; but he was reproached for a desire to be singular and extraordinary. "Ingres," wrote Frau V. Hastfer (Leben und Kunst in Paris, 1806) "wird nach Italien gehen, und dort wird er vielleicht vergessen, dass er zu etwas Grossem geboren ist, and wird eben darum ein hohes Ziel erreichen." (Life and Art in Paris: "Ingres will go to Italy, and there he perhaps has forgotten that he is born to something great, and will achieve therefore an ambitious goal." In this spirit, also, Chaussard violently attacked his portrait of the Emperor (Pausanias Francais, 1806), nor did the portraits of the Rivière family escape criticism. The points on which Chaussard justly laid stress were the strange discordances of colour, the want of sculptural relief, and a lack of warmth of life. What was overlooked was Ingres' grasp of his subject as a whole, displayed in the portraits of both husband and wife, which already evidenced the refined draftsmanship and clarity which would distinguish all of Ingres's best productions.

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SKU 071392-tbaslave.jpg
Quantity in stock 1 item(s) available
Price: US$15.00

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