Editing Jean-Auguste-Dominique Ingres (section)

==Rome and the French Academy (1806–1814)==
[[File:Jean-Auguste-Dominique Ingres - La Baigneuse Valpinçon.jpg|thumb|upright|The ''[[The Valpinçon Bather|Grande Baigneuse]]'', also called ''The Valpinçon Bather'' (1808), [[Louvre]]]]

Newly arrived in Rome, Ingres read with mounting indignation the relentlessly negative press clippings sent to him from Paris by his friends. In letters to his prospective father-in-law, he expressed his outrage at the critics: "So the Salon is the scene of my disgrace;&nbsp;... The scoundrels, they waited until I was away to assassinate my reputation&nbsp;... I have never been so unhappy....I knew I had many enemies; I never was agreeable with them and never will be. My greatest wish would be to fly to the Salon and to confound them with my works, which don't in any way resemble theirs; and the more I advance, the less their work will resemble mine."{{Sfn|Jover|2005|page=54}} He vowed never again to exhibit at the Salon, and his refusal to return to Paris led to the breaking up of his engagement.<ref>Tinterow, Conisbee et al. 1999, p. 546.</ref> Julie Forestier, when asked years later why she had never married, responded, "When one has had the honor of being engaged to M. Ingres, one does not marry."<ref>Tinterow, Conisbee et al. 1999, p. 75.</ref>

On 23 November 1806, he wrote to Jean Forestier, the father of his former fiancée, "Yes, art will need to be reformed, and I intend to be that revolutionary."{{Sfn|Jover|2005|page=54}} Characteristically, he found a studio on the grounds of the [[Villa Medici]] away from the other resident artists, and painted furiously. Many drawings of monuments in Rome from this time are attributed to Ingres, but it appears from more recent scholarship that they were actually the work of his collaborators, particularly his friend the landscape artist [[François-Marius Granet]].{{Sfn|Jover|2005|page=56}} As required of every winner of the ''Prix'', he sent works at regular intervals to Paris so his progress could be judged. Traditionally fellows sent paintings of male Greek or Roman heroes, but for his first samples Ingres sent ''Baigneuse à mi-corps'' (1807), a painting of the back of a young woman bathing, based on an engraving of an antique vase, and ''[[The Valpinçon Bather|La Grande Bagneuse]]'' (1808), a larger painting of the back of a nude bather, and the first Ingres model to wear a turban, a detail he borrowed from the Fornarina by his favourite painter, [[Raphael]].{{Sfn|Jover|2005|pages=58–59}} To satisfy the Academy in Paris, he also dispatched ''[[Oedipus and the Sphinx (Ingres)|Oedipus and the Sphinx]]'' to show his mastery of the male nude.<ref>Condon et al. 1983, p. 38.</ref> The verdict of the academicians in Paris was that the figures were not sufficiently idealized.<ref>Tinterow, Conisbee et al. 1999, pp. 98–101.</ref> In later years Ingres painted several variants of these compositions; another nude begun in 1807, the ''[[Venus Anadyomene (Ingres)|Venus Anadyomene]]'', remained in an unfinished state for decades, to be completed forty years later<ref name="Condon_64">Condon et al. 1983, p. 64.</ref> and finally exhibited in 1855.

[[File:IngresOdipusAndSphinx.jpg|thumb|upright|''[[Oedipus and the Sphinx (Ingres)|Oedipus and the Sphinx]]'' (1808), [[Louvre]]]]
During his time in Rome he also painted numerous portraits: ''[[Portrait of Madame Duvaucey|Madame Duvaucey]]'' (1807), ''François-Marius Granet'' (1807), ''Joseph-Antoine Moltedo'' (1810), ''Madame Panckoucke'' (1811), and ''Charles-Joseph-Laurent Cordier'' (1811).<ref>Radius 1968, pp. 90–92.</ref> In 1812 he painted one of his few portraits of an older woman, ''Comtesse de Tournon'', mother of the prefect of Rome.<ref>Tinterow, Conisbee et al. 1999, p. 138.</ref> In 1810 Ingres's pension at the Villa Medici ended, but he decided to stay in Rome and seek patronage from the French occupation government.

In 1811 Ingres completed his final student exercise, the immense ''[[Jupiter and Thetis (Ingres)|Jupiter and Thetis]]'', a scene from the [[Iliad]] of Homer: the goddess of the Sea, Thetis, pleads with Zeus to act in favor of her son [[Achilles]]. The face of the water nymph [[Salmacis]] he had drawn years earlier reappeared as Thetis. Ingres wrote with enthusiasm that he had been planning to paint this subject since 1806, and he intended to "deploy all of the luxury of art in its beauty".{{Sfn|Jover|2005|page=68}} However, once again, the critics were hostile, finding fault with the exaggerated proportions of the figures and the painting's flat, airless quality.<ref>Tinterow, Conisbee et al. 1999, p. 104.</ref>

Although facing uncertain prospects, in 1813 Ingres married a young woman, [[Madeleine Chapelle]], recommended to him by her friends in Rome. After a courtship carried out through correspondence, he proposed without having met her, and she accepted.<ref>Tinterow, Conisbee et al. 1999, pp. 152–154.</ref> Their marriage was happy; Madame Ingres's faith was unwavering. He continued to suffer disparaging reviews, as ''[[Don Pedro of Toledo Kissing Henry IV's Sword]]'', ''Raphael and the Fornarina'' ([[Fogg Art Museum]], [[Harvard University]]), several portraits, and the ''Interior of the [[Sistine Chapel]]'' met with generally hostile critical response at the [[Paris Salon of 1814]].<ref>Mongan and Naef 1967, p. xx.</ref>