Editing Jean-Auguste-Dominique Ingres (section)

===Portraits===
<gallery mode="packed" heights="150px">
Image:Ingres, Madame Riviere.jpg|''[[Portrait of Marie-Françoise Rivière]]'' (1805–06), oil on canvas, 116.5 x 81.7&nbsp;cm, [[Louvre]]
File:Ingres Marcotte d-Argenteuil.jpg|''[[Portrait of Charles Marcotte]]'' (1810), National Gallery of Art, Washington DC
File:Louis-Francois Bertin.jpg|''[[Portrait of Monsieur Bertin]]'' (1832), the Louvre
File:Jean-Auguste-Dominique Ingres - Comtesse d'Haussonville - Google Art Project.jpg|''[[Portrait of Comtesse d'Haussonville]]'' (1845), [[Frick Collection]], New York
Image:Jean auguste dominique ingres baronne james de rothschild.jpg|''[[Portrait of Baronne de Rothschild]]'' (1848), Rothschild Collection, Paris
</gallery>

While Ingres believed that history painting was the highest form of art, his modern reputation rests largely upon the exceptional quality of his portraits. By the time of his retrospective at the Exposition Universelle in 1855, an emerging consensus viewed his portrait paintings as his masterpieces.<ref>Tinterow, Conisbee et al. 1999, p. 512.</ref> Their consistently high quality belies Ingres's often-stated complaint that the demands of portraiture robbed him of time he could have spent painting historical subjects. [[Baudelaire]] called him "the sole man in France who truly makes portraits. The portraits of M. Bertin, M. Molé and Mme d'Haussonville are true portraits, that is, the ideal reconstruction of individuals....A good portrait seems to me always as a biography dramatized."<ref>Charles Baudelaire, ''Le Salon de 1859''</ref> His most famous portrait is that of Louis-François Bertin, the chief editor of the ''Journal des Debats'', which was widely admired when it was exhibited at the 1833 Salon. Ingres had originally planned to paint Bertin standing, but many hours of effort ended in a creative impasse before he decided on a seated pose. [[Édouard Manet]] described the resulting portrait as "The Buddha of the Bourgeoisie". The portrait quickly became a symbol of the rising economic and political power of Bertin's social class.<ref name="Tinterow, Conisbee 1999, p. 300">Tinterow, Conisbee et al. 1999, p. 300.</ref>

For his female portraits, he often posed the subject after a classical statue; the famous portrait of the Comtesse de'Haussonville may have been modeled after a Roman statue called "Pudicity" ("modesty") in the Vatican collection.<ref>Russell, John. "[https://www.nytimes.com/1985/11/24/arts/art-view-ingres-s-portrait-of-a-lady-is-the-mirror-of-an-age.html Ingres's Portrait of a Lady is the Mirror of an Age"], ''The New York Times'', 24 November 1985. Retrieved 8 July 2017.</ref> Another trick that Ingres used was to paint the fabrics and details in the portraits with extreme precision and accuracy, but to idealize the face. The eye of the viewer would perceive the fabrics as realistic and would assume the face was equally true.{{Sfn|Jover|2005|pages=222–223}} His portraits of women range from the warmly sensuous ''Madame de Senonnes'' (1814) to the realistic ''Mademoiselle Jeanne Gonin'' (1821), the [[Juno (mythology)|Juno]]esque ''Marie-Clothilde-Inés de Foucauld, Madame Moitessier'' (portrayed standing and seated, 1851 and 1856), and the chilly ''Joséphine-Eléonore-Marie-Pauline de Galard de Brassac de Béarn, Princesse de Broglie'' (1853).