| Portrait of Madame Jacques-Louis Leblanc | |
|---|---|
 | |
| Artist | Jean-Auguste-Dominique Ingres |
| Year | 1823 |
| Medium | Oil on canvas |
| Dimensions | 119.4 cm× 92.7 cm(47.0 in× 36.5 in) |
| Location | Metropolitan Museum of Art, New York |
The Portrait of Madame Jacques-Louis Leblanc is an oil painting by the French Neoclassical artist Jean-Auguste-Dominique Ingres, painted in 1823 and displayed at the Metropolitan Museum of Art in New York. [1] [2] [3]
The painting portrays the wife of Jacques-Louis Leblanc, Françoise Poncelle, in 1823. It was painted by Jean-Auguste-Dominique Ingres after the couple met him in Florence. [4] It depicts Leblanc in a proud posture, wearing a black dress and golden necklace, indicating her family's wealth and her own self-assurance. Much of what is considered attractive about the painting is the way Poncelle's smile is depicted. Ingres used a darker color scheme to draw a bold contrast with the subject of the painting. For color balance with the dark background, he included a flower on a vase on the table next to Poncelle. [5]
The Leblanc family owned the painting until purchased by close friends Edgar Degas and Albert Bartholomé, at which point it started circulating exhibitions in major cities including Paris, London, Moscow, New York, and Washington. [5] It was also exhibited under original ownership in 1834 at the Salon (Paris) without its pendant by the same artist, [4] Portrait of Jacques-Louis Leblanc. [6]
Ingres's signature is visible at the lower left side of the painting. An oil painting on canvas, it is associated with the Neoclassicism style and sized 119.4 by 92.7 cm (47.0 by 36.5 in). [5] In 1918 the painting was purchased from Degas's estate sale by the Metropolitan Museum of Art, who displays it on public exhibition. [4]
Jean-Auguste-Dominique Ingres was a French Neoclassical painter. Ingres was profoundly influenced by past artistic traditions and aspired to become the guardian of academic orthodoxy against the ascendant Romantic style. Although he considered himself a painter of history in the tradition of Nicolas Poussin and Jacques-Louis David, it is his portraits, both painted and drawn, that are recognized as his greatest legacy. His expressive distortions of form and space made him an important precursor of modern art, influencing Picasso, Matisse and other modernists.
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Portrait of Madame Duvaucey is an 1807 oil on canvas painting by Jean-Auguste-Dominique Ingres. It shows Antonia Duvauçey of Nittis, the lover of Charles-Jean-Marie Alquier, then ambassador to the Holy See. Duvaucey is positioned in a flat pictorial space, gazing frontally at the viewer, dressed in lavish clothing and accessories. The portrait is the first female portrait painted during the artist's stay in Rome. Portrait of Madame Duvaucey is acclaimed for exhibiting her enigmatic charm, and as "not a portrait that gives pleasure..[but]...a portrait that gives rise to dreams".
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