Editing Jean-Auguste-Dominique Ingres (section)

==Early years: Montauban and Toulouse==
Ingres was born in [[Montauban]], [[Tarn-et-Garonne]], France, the first of seven children (five of whom survived infancy) of {{ill|Jean-Marie-Joseph Ingres|fr}} (1755–1814) and his wife Anne Moulet (1758–1817). His father was a successful jack-of-all-trades in the arts, a painter of [[Portrait miniature|miniatures]], sculptor, decorative stonemason, and amateur musician; his mother was the nearly illiterate daughter of a master wigmaker.<ref>Parker 1926.</ref> 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.<ref name="Arikha 1986, p. 103">Arikha 1986, p. 103.</ref> Starting in 1786, he attended the local school École des Frères de l'Éducation Chrétienne, 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 in his schooling would always remain for him a source of insecurity.<ref>Tinterow, Conisbee et al. 1999, pp. 25, 280.</ref>

In 1791, Joseph Ingres took his son to [[Toulouse]], where the young Jean-Auguste-Dominique was enrolled in the Académie Royale de Peinture, Sculpture et Architecture. There he studied under the sculptor Jean-Pierre Vigan, the landscape painter Jean Briant, and the neoclassical painter [[Guillaume-Joseph Roques]]. Roques' veneration of [[Raphael]] was a decisive influence on the young artist.<ref>Prat 2004, p. 15.</ref> Ingres won prizes in several disciplines, such as composition, "figure and antique", and life studies.<ref name="Mongan_Naef_xix"/> His musical talent was developed under the tutelage of the violinist Lejeune, and from the ages of thirteen to sixteen he played second violin in the Orchestre du Capitole de Toulouse.<ref name="Mongan_Naef_xix"/>

From an early age he was determined to be a history painter, which, in the hierarchy of genres established by the Royal Academy of Painting and Sculpture under Louis XIV, and continued well into the 19th Century, was considered the highest level of painting. He did not want to simply make portraits or illustrations of real life like his father; he wanted to represent the heroes of religion, history and mythology, to idealize them and show them in ways that explained their actions, rivaling the best works of literature and philosophy.{{Sfn|Jover|2005|page=16}}