| 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.
Théodore Chassériau was a Dominican-born French Romantic painter noted for his portraits, historical and religious paintings, allegorical murals, and Orientalist images inspired by his travels to Algeria. Early in his career he painted in a Neoclassical style close to that of his teacher Jean-Auguste-Dominique Ingres, but in his later works he was strongly influenced by the Romantic style of Eugène Delacroix. He was a prolific draftsman, and made a suite of prints to illustrate Shakespeare's Othello. The portrait he painted at the age of 15 of Prosper Marilhat makes Chassériau the youngest painter exhibited at the Louvre museum.
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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".
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.
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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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Madame Jean-Auguste-Dominique Ingres, also known by her maiden name Madeleine Chapelle, was the first wife of Jean Auguste-Dominique Ingres, a French Neoclassical painter. Chapelle was the subject of a portrait painting and nine portrait drawings by Ingres and often served him as a figure model.
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