Editing Jean-Auguste-Dominique Ingres (section)

==Rome after the Academy and Florence (1814–1824)==
[[File:Jean-auguste-dominique ingres, romolo, vincitore di acron, porta il bottino nel tempio di giano, 1812, 00.jpg|thumb|upright=1.15|''[[Romulus' Victory Over Acron]]'' (1811), the Louvre]]

After he left the Academy, a few important commissions came to him. The French governor of Rome, General [[Sextius Alexandre François de Miollis|Miollis]], a wealthy patron of the arts, asked him to decorate rooms of the [[Monte Cavallo]] Palace, a former papal residence, for an expected visit of Napoleon. Ingres painted a large-scale ''[[Romulus' Victory Over Acron]]'' (1811) for the salon of the Empress and ''[[The Dream of Ossian]]'' (1813), based on a book of poems that Napoleon admired, for the ceiling of the Emperor's bedroom.{{Sfn|Jover|2005|page=77}} General Miollis also commissioned Ingres to paint ''[[Virgil reading The Aeneid before Augustus, Livia and Octavia]]'' (1812) for his own residence, the villa Aldobrandini.<ref>Tinterow, Conisbee et al. 1999, p. 106.</ref> The painting shows the moment when Virgil, reciting his work to the Emperor [[Augustus]], his wife [[Livia]] and his sister [[Octavia the Younger|Octavia]], mentions the name of Octavia's dead son, [[Marcus Claudius Marcellus (nephew of Augustus)|Marcellus]], causing Octavia to faint. The interior was precisely depicted, following the archeological finds at [[Pompeii]]. As usual, Ingres made several versions of the same scene: a three-figure fragment cut from an abandoned version is in the [[Royal Museums of Fine Arts of Belgium]] in Brussels, and in 1825 he made a chalk drawing in vertical format as a model for a reproductive engraving made by Pradier in 1832.<ref>Condon et al. 1983, pp. 52, 56, 58. {{ISBN|0-9612276-0-5}}</ref> The General Miollis version was repurchased by Ingres in the 1830s, reworked by assistants under Ingres's direction, and never finished; ''The Dream of Ossian'' was likewise repurchased, modified, but left unfinished.<ref name="Condon1983_p52">Condon et al. 1983, p. 52.</ref>

He traveled to Naples in the spring of 1814 to paint ''Queen [[Caroline Bonaparte|Caroline Murat]]''. [[Joachim Murat]], the King of Naples, had earlier purchased the [[La Dormeuse de Naples (painting)|Dormeuse de Naples]], a sleeping nude<ref>Cohn and Siegfried 1980, p. 50</ref> (the original is lost, but several drawings exist, and Ingres later revisited the subject in ''L'Odalisque à l'esclave''). Murat also commissioned two historical paintings, ''Raphael et la Fornarina'' and ''Paolo et Francesca'', and what later became one of Ingres's most famous works, ''[[La Grande Odalisque]]'', to accompany ''Dormeuse de Naples''. Ingres never received payment, due to the collapse of the Murat regime and execution of Joachim Murat in 1815.<ref>Tinterow, Conisbee et al. 1999, pp. 147, 547.</ref> With the fall of Napoleon's dynasty, he found himself essentially stranded in Rome without patronage.

[[File:Jean-Auguste-Dominique INGRES - Tu Marcellus Eris - Musée des Augustins - RO 124.jpg|thumb|left|''[[Virgil reading The Aeneid before Augustus, Livia and Octavia]]'' (1812, later reworked), Toulouse, Musée des Augustins]]

He continued to produce masterful portraits, in pencil and oils, of almost photographic precision; but with the departure of the French administration, the painting commissions were rare. During this low point of his career, Ingres augmented his income by drawing pencil portraits of the many wealthy tourists, in particular the English, passing through postwar Rome. For an artist who aspired to a reputation as a history painter, this seemed menial work, and to the visitors who knocked on his door asking, "Is this where the man who draws the little portraits lives?", he would answer with irritation, "No, the man who lives here is a painter!"<ref>Tinterow, Conisbee et al. 1999, p. 111.</ref> The portrait drawings he produced in such profusion during this period rank today among his most admired works.<ref>Mongan and Naef 1967, p. xvii.</ref> He is estimated to have made some five hundred portrait drawings, including portraits of his famous friends. His friends included many musicians including [[Niccolò Paganini|Paganini]], and he regularly played the violin with others who shared his enthusiasm for [[Wolfgang Amadeus Mozart|Mozart]], [[Joseph Haydn|Haydn]], [[Christoph Willibald Gluck|Gluck]], and [[Ludwig van Beethoven|Beethoven]].<ref name="Arikha104">Arikha 1986, p. 104.</ref>

He also produced a series of small paintings in what was known as the [[Troubador style]], idealized portrayals of events in the Middle Ages and Renaissance. In 1815 he painted ''[[Aretino and Charles V's Ambassador]]'' as well as ''Aretino and [[Tintoretto]]'', an anecdotal painting whose subject, a painter brandishing a pistol at his critic, may have been especially satisfying to the embattled Ingres.<ref>Condon et al. 1983, p. 12.</ref> Other paintings in the same style included ''Henry IV Playing with His Children'' (1817) and the ''Death of [[Leonardo da Vinci|Leonardo]].''
[[File:Jean_Auguste_Dominique_Ingres_-_Roger_Delivering_Angelica.jpg|thumb|upright|''[[Roger Freeing Angelica (Ingres)|Roger Delivrant Angelique]]'' (1819), The Louvre]]

In 1816 Ingres produced his only [[etching]], a portrait of the French ambassador to Rome, Monsignor Gabriel Cortois de Pressigny.<ref>Tinterow, Conisbee et al. 1999, p. 196.</ref> The only other prints he is known to have executed are two [[lithograph]]s: ''The Four Magistrates of Besançon'', made as an illustration for [[Baron Isidore Justin Séverin Taylor|Baron Taylor]]'s ''Voyages pittoresques et romantiques dans l'ancienne France'', and a copy of ''La Grande Odalisque'', both in 1825.<ref>Cohn and Siegfried 1980, p. 90.</ref>

In 1817 the [[Pierre Louis Jean Casimir de Blacas|Count of Blacas]], who was ambassador of France to the [[Holy See]], provided Ingres with his first official commission since 1814, for a painting of ''[[Christ]] Giving the Keys to [[Saint Peter|Peter]]''. Completed in 1820, this imposing work was well received in Rome but to the artist's chagrin the ecclesiastical authorities there would not permit it to be sent to Paris for exhibition.<ref>Tinterow, Conisbee et al. 1999, p. 112.</ref>

A commission came in 1816 or 1817 from the descendants of the [[Fernando Álvarez de Toledo, Duke of Alva]], for a painting of the Duke receiving papal honours for his repression of the [[Protestant Reformation]]. Ingres loathed the subject—he regarded the Duke as one of history's brutes—and struggled to satisfy both the commission and his conscience. After revisions which eventually reduced the Duke to a tiny figure in the background, Ingres left the work unfinished.<ref>Condon et al. 1983, p. 86.</ref> He entered in his diary, "J'etais forcé par la necessité de peindre un pareil tableau; Dieu a voulu qu'il reste en ebauche." ("I was forced by need to paint such a painting; God wanted it to remain a sketch.")<ref>Delaborde 1870, p. 229.</ref>

[[File:Jean Auguste Dominique Ingres, La Grande Odalisque, 1814.jpg|thumb|left|''[[La Grande Odalisque]]'' (1814), the Louvre]]
He continued to send works to the Salon in Paris, hoping to make his breakthrough there. In 1819 he sent his reclining nude, ''[[La Grande Odalisque]]'', as well as a history painting, ''[[Philip V of Spain|Philip V]] and the Marshal of Berwick'', and ''[[Roger Freeing Angelica (Ingres)|Roger Freeing Angelica]]'', based on an episode in the 16th-century epic poem ''[[Orlando Furioso]]'' by [[Ariosto]] but his work was once again condemned by critics as gothic and unnatural.<ref>Cohn and Siegfried 1980, pp. 22–23.</ref> The critic Kératy complained that the Grande Odalisque's back was three vertebrae too long. The critic [[Charles Paul Landon|Charles Landon]] wrote: "After a moment of attention, one sees that in this figure there are no bones, no muscles, no blood, no life, no relief, no anything which constitutes imitation....it is evident that the artist deliberately erred, that he wanted to do it badly, that he believed in bringing back to life the pure and primitive manner of the painters of Antiquity; but he took for his model a few fragments from earlier periods and a degenerate execution, and completely lost his way."<ref>Landon, Charles, ''Annals du musée'', Salon de 1814, Paris, 1814, cited in Jover (2005), p. 87</ref>

In 1820 Ingres and his wife moved to [[Florence]] at the urging of the Florentine sculptor [[Lorenzo Bartolini]], an old friend from his years in Paris. He still had to depend upon his portraits and drawings for income, but his luck began to change.<ref>Cohn and Siegfried 1980, pp. 23, 114.</ref> His history painting ''Roger Freeing Angelica'' was purchased for the private collection of Louis XVIII, and was hung in the [[Musée du Luxembourg]] in Paris, which was newly devoted to the work of living artists. This was the first work of Ingres to enter a museum.{{Sfn|Fleckner|2007|page=66}}

[[File:Jean-Auguste-Dominique Ingres, Self-Portrait, 1822, NGA 93063.jpg|thumb|upright|''Self-Portrait'', 1822, [[National Gallery of Art]]]]
In 1821, he finished a painting commissioned by a childhood friend, Monsieur de Pastoret, ''[[The Dauphin's Entry Into Paris|The Entry into Paris of the Dauphin, the Future Charles V]]''; de Pastoret also ordered a portrait of himself and a religious work (''Virgin with the Blue Veil''). In August 1820, with the help of de Pastoret, he received a commission for a major religious painting for the Cathedral of Montauban. The theme was the re-establishment of the bond between the church and the state. Ingres's painting, ''[[The Vow of Louis XIII]]'' (1824), inspired by Raphael, was purely in the Renaissance style, and depicted King Louis XIII vowing to dedicate his reign to the Virgin Mary. This was perfectly in tune with the doctrine of the new government of the Restoration. He spent four years bringing the large canvas to completion, and he took it to the Paris Salon in October 1824, where it became the key that finally opened the door of the Paris art establishment and to his career as an official painter.{{Sfn|Jover|2005|page=152}}