Editing Jean-Auguste-Dominique Ingres (section)

==Return to Paris and retreat to Rome (1824–1834)==
[[File:Le Voeu de Louis XIII.jpg|thumb|left|upright|''[[The Vow of Louis XIII]]'' (1824), Cathedral of Notre-Dame, Montauban]]
The ''Vow of Louis XIII'' in the [[Salon of 1824]] finally brought Ingres critical success. Although [[Stendhal]] complained about "the sort of material beauty which excludes the idea of divinity",{{Sfn|Jover|2005|page=162}} most critics praised the work. The journalist and future Prime Minister and French President [[Adolphe Thiers]] celebrated the breakthrough of a new style: "Nothing is better than variety like this, the essential character of the new style."{{Sfn|Jover|2005|page=162}} In January 1825 Ingres was awarded the Cross of the [[Légion d'honneur]] by [[Charles X of France|Charles X]], and in June 1825 he was elected a member of Académie des Beaux-Arts.<ref name="Arikha104"/> [[Lithograph]]s of ''La Grande Odalisque'' published in 1826 in two competing versions by Delpech and Sudré found eager buyers; Ingres received 24,000 francs for the reproduction rights – twenty times the amount he had been paid for the original painting six years earlier.<ref>Condon et al. 1983, pp. 20, 128.</ref> The 1824 Salon also brought forward a counter-current to the neoclassicism of Ingres: [[Eugène Delacroix]] exhibited ''Les Massacres de Scio'', in a romantic style sharply contrasting to that of Ingres.{{Sfn|Jover|2005|page=164}}

The success of Ingres's painting led in 1826 to a major new commission, ''[[The Apotheosis of Homer (Ingres)|The Apotheosis of Homer]]'', a giant canvas which celebrated all the great artists of history, intended to decorate the ceiling of one of the halls of the Museum Charles X at the Louvre. Ingres was unable to finish the work in time for the 1827 Salon, but displayed the painting in [[grisaille]].<ref>Condon, Grove Art Online.</ref> The 1827 Salon became a confrontation between the neoclassicism of Ingres's ''Apotheosis'' and a new manifesto of romanticism by Delacroix, ''[[The Death of Sardanapalus]]''. Ingres joined the battle with enthusiasm; he called Delacroix "the apostle of ugliness" and told friends that he recognized "the talent, the honorable character and distinguished spirit" of Delacroix, but that "he has tendencies which I believe are dangerous and which I must push back."{{Sfn|Jover|2005|page=165}}<ref>Siegfried & Rifkin 2001, pp. 78–81.</ref>
[[File:Ingres Martyre Saint-Symphorien.jpg|thumb|upright|''[[The Martyrdom of Saint Symphorian]]'' (1834), Cathedral of [[Autun]]]]
Despite the considerable patronage he enjoyed under the Bourbon government, Ingres welcomed the [[July Revolution]] of 1830.<ref>Grimme 2006, p. 30.</ref> That the outcome of the Revolution was not a republic but a constitutional monarchy was satisfactory to the essentially conservative and pacifistic artist, who in a letter to a friend in August 1830 criticized agitators who "still want to soil and disturb the order and happiness of a freedom so gloriously, so divinely won."<ref>Tinterow, Conisbee et al. 1999, pp. 281–282.</ref> Ingres's career was little affected, and he continued to receive official commissions and honors under the [[July Monarchy]].

Ingres exhibited in the [[Salon of 1833]], where his portrait of ''[[Louis-François Bertin]]'' (1832) was a particular success. The public found its realism spellbinding, although some of the critics declared its naturalism vulgar and its colouring drab.<ref>Tinterow, Conisbee et al. 1999, p. 503.</ref> In 1834 he finished a large religious painting, ''[[The Martyrdom of Saint Symphorian]]'', which depicted the first saint to be martyred in Gaul. The painting was commissioned in 1824 by the Ministry of the Interior for the Cathedral of [[Autun]], and the iconography in the picture was specified by the bishop. Ingres conceived the painting as the summation of all of his work and skill, and worked on it for ten years before displaying it at the [[Salon of 1834]]. He was surprised, shocked and angered by the response; the painting was attacked by both the neoclassicists and by the romantics. Ingres was accused of historical inaccuracy, for the colours, and for the feminine appearance of the Saint, who looked like a beautiful statue. In anger, Ingres announced that he would no longer accept public commissions, and that he would no longer participate in the Salon. He later did participate in some semi-public expositions and a retrospective of his work at the [[Exposition Universelle (1855)|1855 Paris International Exposition]], but never again took part in the Salon or submitted his work for public judgement. Instead, at the end of 1834 he returned to Rome to become the Director of the Academy of France.{{Sfn|Fleckner|2007|pages=81–83}}