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 a 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 resembles 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.
Napoleon I on his Imperial Throne is an 1806 portrait of Napoleon I of France in his coronation costume, painted by the French painter Jean-Auguste-Dominique Ingres.
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.
Baronne de Rothschild is an 1848 portrait by the French Neoclassical artist Jean-Auguste-Dominique Ingres. The sitter, Betty de Rothschild (1805–1886) had married her paternal uncle banker James Mayer de Rothschild and was one of the wealthiest women in Europe, and one of the foremost Parisian patrons of the arts. Her beauty and elegance were widely known and celebrated and inspired Heinrich Heine's poem The Angel. For her portrait, which is painted in oil on canvas, Ingres sought to infuse symbols of her material wealth with the dignity, grace and beauty of Renaissance art, especially that of Raphael, while at the same time adhering to the command of line as practised by Jan van Eyck. It is this combination which, according to art historians, places Ingres so far apart from his early modernist contemporaries.
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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".
Portrait of Madame Aymon, La Belle Zélie is an 1806 oil on canvas painting by the French artist Jean-Auguste-Dominique Ingres. The painting is one of Ingres' early painted portraits, completed just before his first stay in Rome. It first came to public notice during an 1867 Ingres exhibition in Paris and was acquired by the Musée des Beaux-Arts de Rouen in 1870.
The Portrait of Comtesse d'Haussonville is an 1845 oil-on-canvas painting by the French Neoclassical artist Jean-Auguste-Dominique Ingres. The sitter was Louise de Broglie, Countess d'Haussonville, of the wealthy House of Broglie. The Princesse de Broglie, who Ingres later portrayed c. 1851–53, was married to Louise's brother Albert de Broglie, the French monarchist politician, diplomat and writer. Highly educated, Louise de Broglie was later an essayist and biographer and published historical romance novels based on the lives of Lord Byron, Robert Emmett and Margaret of Valois.
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.
Portrait of Marie-Françoise Rivière is a c. 1805 oil-on-canvas painting by the French Neoclassical artist Jean-Auguste-Dominique Ingres.
Portrait of Paul Lemoyne is an oil on canvas painting by the French Neoclassical artist Jean-Auguste-Dominique Ingres, completed between 1810 and 1811. It his held at the Nelson-Atkins Museum of Art, Kansas City. The model is Paul Lemoyne (1784–1883), a French sculptor, who visited Ingres during his first stay in Rome, when this portrait was executed. He is depicted as youthful, dashing, fiery, dark and handsome. Lemoyne is shown in an unguarded and informal pose, suggesting that the work completed as a gift for a friend rather than as a paid commission. The dark black and green background seems splashed on, and serves to accentuate the subject's dark facial features and black hair. Lemoyne looks disheveled, with rough hair and open shirt collars.
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.
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.
Portrait of Madame Marcotte de Sainte-Marie is an 1826 painting by Jean-Auguste-Dominique Ingres of Suzanne Clarisse de Salvaing de Boissieu, wife of Marin Marcotte de Sainte-Marie. It is one of his earliest surviving portraits and one of the few portraits of women he produced in Paris straight after his return from Rome. Studies for it are now in the Louvre and a gallery in Montauban.
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