Editing Jean-Auguste-Dominique Ingres (section)

===Drawings===
<gallery mode="packed" heights="150px">
File:Ingres Study for La Grande Odalisque 1814.jpg|Study for the ''[[Grande Odalisque]]'' (1814)
File:NiccoloPaganini.jpeg|The violinist [[Niccolo Paganini]] (1819)
File:Vicomtess Othenin d'Haussonville, nee Louise Albertine de Broglie, study.jpg|Study for the portrait of the Vicomtesse d'Haussonville (circa 1844)
File:Ingres Etude Bain Turc Louvre 1859.jpg|Study for ''[[The Turkish Bath]]'' (1859)
</gallery>

Drawing was the foundation of Ingres's art. In the Ecole des Beaux-Arts he excelled at figure drawing, winning the top prizes. During his years in Rome and Florence, he made hundreds of drawings of family, friends, and visitors, many of them of very high portrait quality. He never began a painting without first resolving the drawing, usually with a long series of drawing in which he refined the composition. In the case of his large history paintings, each figure in the painting was the subject of numerous sketches and studies as he tried different poses. He demanded that his students at the Academy and the Ecole des Beaux-Arts perfect their drawing before anything else; he declared that a "thing well drawn is always a thing well painted".<ref>King, Edward S. (1942). "Ingres as Classicist". ''The Journal of the Walters Art Gallery'' '''20''': 68–113.</ref>

[[File:Ingres - Mme Victor Baltard & sa fille Paule.jpg|thumb|upright|''Mme Victor Baltard and Her Daughter, Paule'', 1836, pencil on paper, 30.1 x 22.3&nbsp;cm]]
His portrait drawings, of which about 450 are extant,<ref>Ribeiro 1999, p. 47.</ref> are today among his most admired works. While a disproportionate number of them date from his difficult early years in Italy, he continued to produce portrait drawings of his friends until the end of his life. [[Agnes Mongan]] has written of the portrait drawings:<blockquote>Before his departure in the fall of 1806 from Paris for Rome, the familiar characteristics of his drawing style were well established, the delicate yet firm contour, the definite yet discreet distortions of form, the almost uncanny capacity to seize a likeness in the precise yet lively delineation of features.</blockquote><blockquote>The preferred materials were also already established: the sharply pointed graphite pencil on a smooth white paper. So familiar to us are both the materials and the manner that we forget how extraordinary they must have seemed at the time&nbsp;... Ingres' manner of drawing was as new as the century. It was immediately recognized as expert and admirable. If his paintings were sternly criticized as "Gothic," no comparable criticism was leveled at his drawings.<ref>Mongan and Naef 1967, p. xiii.</ref></blockquote>

His student [[Raymond Balze]] described Ingres's working routine in executing his portrait drawings, each of which required four hours, as "an hour and a half in the morning, then two-and-a-half hours in the afternoon, he very rarely retouched it the next day. He often told me that he got the essence of the portrait while lunching with the model who, off guard, became more natural."<ref>Arikha 1986, p. 6.</ref> The resulting drawings, according to [[John Canaday]], revealed the sitters' personalities by means so subtle—and so free of cruelty—that Ingres could "expose the vanities of a fop, a silly woman, or a windbag, in drawings that delighted them."<ref>Canaday 1969, p. 814.</ref>

Ingres drew his portrait drawings on [[wove paper]], which provided a smooth surface very different from the ribbed surface of [[laid paper]] (which is, nevertheless, sometimes referred to today as "[[Ingres paper]]").<ref>Mongan and Naef 1967, p. 244.</ref> The early drawings are characterized by very taut contours drawn with sharply pointed graphite, while later drawings show freer lines and more emphatic modeling, drawn with a softer, blunter graphite.<ref>Mongan and Naef 1967, p. xxii.</ref>

Drawings made in preparation for paintings, such as the many studies for ''The Martyrdom of St. Symphorian'' and ''The Golden Age'', are more varied in size and treatment than are the portrait drawings. It was his usual practice to make many drawings of nude models, in search of the most eloquent gesture, before making another series of drawings for the draperies. In his early years he sometimes had his model pose behind a translucent veil that suppressed details and emphasized the arabesque.<ref>Arikha 1986, p. 48.</ref> He often used female models when testing poses for male figures, as he did in drawings for ''Jesus Among the Doctors''.<ref>Arikha 1986, p. 91.</ref> Nude studies exist even for some of his commissioned portraits, but these were drawn using hired models.<ref>Tinterow, Conisbee et al. 1999, pp. 432, 449.</ref>

Ingres drew a number of [[Landscape art|landscape]] views while in Rome, but he painted only one pure landscape, the small tondo ''Raphael's Casino'' (although two other small landscape tondos are sometimes attributed to him).<ref>Arikha 1986, p. 1.</ref>