Paintings

Description of the painting by Jean Auguste Ingres "Portrait of Mademoiselle Riviere"


Dated 1805, at the Louvre, Paris, France.

The master painted this canvas at the beginning of his career. Philibert Riviere, who served in the court of Napoleon, invited the young painter to his home in Saint-Germain-en-Laye (a city in the vicinity of Paris) to paint three portraits: his, his wife and daughter. It is about the latter that will be discussed.

At that time, Carolina was 13-15 years old and, judging by the pose in which Ingres captured her, was embarrassed and nervous, but tried to seem dead. This is evidenced by slightly clenched fist hands, their location, covering the stomach in an unconscious protective gesture, which filled the cheeks with a blush. It is likely that the reason for her excitement during posing was not only a transitional age, but also the need to stand before a young and attractive artist (he was about 25-26 years old).

Girls at such a young age were supposed to wear dresses of light shades, but white especially emphasized purity and innocence. The style of dress is fashionable in 1795-1820. Empire style - distinguished by the disappearance of massive crinolines, which were replaced by a slightly straight silhouette with a high waist that expanded slightly to the bottom and flying, translucent matter. The light pleated fabric is very accurately depicted in the picture, as is the silver sheen of the satin girdle under the chest, folds of short sleeves. Accessories are almost imperceptible earrings, long soft leather gloves and a fur scarf, the textures of which are perfectly drawn.

Obviously, the proportions are violated in the work - the neck is excessively extended, the head and arms are slightly enlarged, but this, together with the big midnight eyes, gives the girl a mysterious charm and fragility. For such a departure from the academicism of Jean Auguste, contemporaries seriously criticized.

A radiant female figure is depicted against a darker green-blue pastoral landscape, which creates a hint of movement due to the multidirectional diagonals of greenery and the horizon. In the lower right corner, the author’s signature is clearly visible - “Ingres”, that is, “Ingres son”.





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