La Dormeuse de Naples (literally The Sleeping Woman of Naples; originally known as Donna nuda che dorme or Sleeping nude woman [1] ) was an 1809 painting by the French artist Jean-Auguste-Dominique Ingres, now lost. He reused the pose in two later works, Odalisque with Slave (1839) and Jupiter and Antiope (1851).
It was first conceived in 1807 while Ingres was at the French Academy in Rome as part of the portfolio as a 'pensionnaire' of the Academy. [1] It was completed on 28 October 1809 and exhibited as number 58 in the Capitoline Museums. [1] It was bought later that year by Joachim Murat, king of Naples for 50 louis [2] –he moved it to the smaller apartments of the royal palace. [1]
Murat's wife and queen consort Caroline commissioned the 1814 la Grande Odalisque as a pendant for the painting, on a canvas of the same dimensions. La Dormeuse de Naples disappeared in 1815 after the royal palace in Naples was pillaged following Murat's fall from power. [2] It is only known through its preparatory studies, a drawing made from memory by Ingres and an old photograph of a study for it. In 1832 Ingres asked Caroline Murat about the painting by courier in an attempt to locate it in time to exhibit at the 1833 Salon, but this was unsuccessful. [1] Several theories have arisen as to its present locations, inspiring the 2004 French novel La Dormeuse de Naples by Adrien Goetz.
In his 1832 letter to Caroline Murat, Ingres described the painting and provided a rapid sketch of it from memory. [3] Ingres stated that the painting showed a nude life-size female stretched out on a day-bed, [2] her head resting on her left arm, which in turn rested on a cushion, and the right arm behind the head. [3]
As with several other works from his neoclassical period, such as Jupiter and Thetis and Romulus, Vanquisher of Acron , Ingres was influenced by both classical sculpture and Renaissance painting. Like most reclining female nudes in western art, it derived from the posture of the Sleeping Ariadne sculpture in the Vatican Museums. [4] Ingres' Renaissance sources included Giorgione's Sleeping Venus (which he knew from engravings [2] ) and Titian's Pardo Venus [2] (the closest influence on the pose of Ingres' nude) [5] and the Venus of Urbino (which he had studied in the Uffizi and of which he produced a copy in 1822). [5]
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.
A figure painting is a work of fine art in any of the painting media with the primary subject being the human figure, whether clothed or nude. Figure painting may also refer to the activity of creating such a work. The human figure has been one of the constant subjects of art since the first Stone Age cave paintings, and has been reinterpreted in various styles throughout history.
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Venus and Musician refers to a series of paintings by the Venetian Renaissance painter Titian and his workshop.
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Portrait of Caroline Murat, Queen of Naples is an 1814 oil on canvas painting by the French Neoclassical artist Jean-Auguste-Dominique Ingres. Caroline Murat, née Bonaparte, was the sister of Napoleon, and married Joachim Murat, a Marshal of France and Admiral of France, and later King of Naples. Caroline commissioned the portrait as part of an effort to convey her standing and worth to reign as Queen of Naples during an unstable political climate.
Luigi Cherubini and the Muse of Lyric Poetry is an 1842 oil-on-canvas allegorical portrait of Luigi Cherubini by Jean-Auguste-Dominique Ingres and his then-pupil Henri Lehmann. It was bought from Ingres for 8,000 francs by Louis-Philippe I using civil list money in June 1842 and given to the musée du Luxembourg, before being moved in 1874 to the Louvre Museum, in whose collections it still resides.
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