Portrait of Charles Marcotte (also known as Marcotte d'Argenteuil) is an 1810 oil on canvas painting by the French Neoclassical artist Jean-Auguste-Dominique Ingres, completed during the artists first stay in Rome. Charles Marie Jean Baptiste Marcotte (1773-1864) was a long term friend, loyal supporter and adviser to Ingres, and commissioned a number of portraits of his family and friends, as well as works such as Odalisque with Slave (1839). He was 23 years in age when the portrait was painted, and serving as inspector general for Waters and Forests in Napoleonic Rome.[1]
Although handsome, and possessing strong bone structure, he is portrayed as dour and serious, dressed in an imposing military uniform, and given a stern facial expression, with tightly pursed lips, which are turned down at the corners. A number of art historians have noted how his stiffness resemble Ingres' own early self-portraits, particularly that of 1804.[2]
Marcotte stands against a plain grey-green background, leaning against a table draped with a red cloth.[3] His stiff, starched white and yellow neck collar appears tight and restrictive.[1] He wears a blue carrick with a cape and velvet collar, over a white shirt and yellow waistcoat. Affectionately, his hair appears ruffled, which somewhat breaks the overall grim and morose tone.[3] Special attention is given to his claw-like right hand, with its long sinuous fingers, the shape of which is echoed by the tassels protruding from the bicorne beside him.[1]
Marcotte commissioned the portrait as a gift to his mother.[3] He did not like the final painting, finding it too stern, a fact Ingres asked him to keep to himself.[2] It remained in his possession until his death in 1864, after which it passed to his son Joseph Marcotte, and then to his widow, and to his daughter Élisabeth Pougin de la Maisonneuve until 1935. It was acquired by Samuel H. Kress in 1949, and gifted to the National Gallery of Art in 1952.[4]
Ingres signed and dated the painting on the lower right, over the red cloth.
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.
The portrait of Mademoiselle Caroline Rivière was painted in 1806 by the French Neoclassical artist Jean-Auguste-Dominique Ingres, and today hangs in the Louvre.
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Madame Moitessier is a portrait of Marie-Clotilde-Inès Moitessier begun in 1844 and completed in 1856 by Jean-Auguste-Dominique Ingres. The portrait, which depicts Madame Moitessier seated, is now in the collection of the National Gallery in London, which acquired it in 1936.
Portrait of Monsieur Bertin is an 1832 oil on canvas painting by Jean-Auguste-Dominique Ingres. It depicts Louis-François Bertin (1766–1841), the French writer, art collector and director of the pro-royalist Journal des débats. Ingres completed the portrait during his first period of success; having achieved acclaim as a history painter, he accepted portrait commissions with reluctance, regarding them as a distraction from more important work. Bertin was a friend and a politically active member of the French upper-middle class. Ingres presents him as a personification of the commercially minded leaders of the liberal reign of Louis Philippe I. He is physically imposing and self-assured, but his real-life personality shines through – warm, wry and engaging to those who had earned his trust.
The Valpinçon Bather is an 1808 painting by the French Neoclassical artist Jean-Auguste-Dominique Ingres (1780–1867), held in the Louvre since 1879. Painted while the artist was studying at the French Academy in Rome, it was originally titled Seated Woman but later became known after one of its nineteenth-century owners.
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Portrait of Madame de Senonnes is an 1816 painting by Jean-Auguste-Dominique Ingres. It shows Madame de Senonnes, née Marie-Genevieve-Marguerite Marcoz, viscountess of Senonnes (1783–1828). Marcoz was 31 when the portrait was completed. Ingres had earlier portrayed her in a drawing of 1813.
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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The Portrait of Comtesse d'Haussonville is an 1845 oil-on-canvas painting by the French Neoclassical artist Jean-Auguste-Dominique Ingres.
Portrait of Madame Ingres is a late period oil on canvas painting by the French Neoclassical artist Jean-Auguste-Dominique Ingres, completed in 1859. Depicting his second wife Delphine Ramel, it is Ingres' final painted portrait, apart from two self-portraits. It was probably painted to accompany Ingres's self-portrait of the same year, now in the Fogg Art Museum, Boston.
Self-Portrait at Seventy-Eight is an 1858 oil-on-canvas painting by the French Neoclassical artist Jean-Auguste-Dominique Ingres. It is one of the last of his many portraits, which he had always regarded as bothersome distractions from his true calling, history painting. The painting measures 24 3/8 x 20 1/8 inches and is in the Uffizi Gallery, Florence.
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Portrait of Philibert Rivière is a c. 1805 oil on canvas painting by the French Neoclassical artist Jean-Auguste-Dominique Ingres. It was commissioned by Philibert Rivière de L'Isle, an influential court official in the Napoleonic Empire, along with portraits of his wife, Philibert and their daughter, Caroline.
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