INGRES THE ARTIST AND HIS PRINCES

 Chantilly, musée Condé, Jeu de Paume room 

 June 3 to October 1

A profitable artist of the primary half of the nineteenth century, Jean-Auguste-Dominique Ingres (1780-1867) is an
unclassifiable and sometimes visionary painter. Behind his obvious classicism there shines an originality and a
seek for perfection which can be nonetheless fascinating.
What are the roots of so successful? With the arrival of the July Monarchy (1830-1848), Ingres discovered
large assist within the Orléans household, which contributed to the creation of a few of his best
masterpieces. These shut ties are the core of the exhibition at Chantilly: how the prince of artists grew to become
the artist of princes.
Gathered from nationwide and worldwide collections, work and drawings commissioned or collected
by the Princes of Orléans might be introduced collectively at Chantilly, together with their research and variants. They
will make clear one of many best French painters’ perfectionist and methodical work.
New analyses specializing in a number of the artist’s most essential masterpieces, in addition to beforehand
unpublished or rediscovered works, will spotlight the distinctive character of one of many nice figures within the
historical past of artwork. 

Jean-Auguste-Dominique Ingres (1780-1867)
Portrait of Ferdinand-Philippe d’0rléans, Royal Prince (1810-1842), 1842
Oil on canvas; H. 1,58 ; W. 1,22 m
Paris, Musée du Louvre, Division of Work, R.F. 2005-13
© Musée du Louvre distribution RMN-Grand Palais-Angèle Dequier 

This story begins with the privileged relationship between Ingres and the
inheritor to the throne. One among his best patrons was the Duke Ferdinand
d’Orléans, Prince Royal (1810-1842), King Louis-Philippe’s eldest son,
who acquired in 1839 his consignment despatched from Rome, Oedipus and the
Sphinx (Paris, Musée du Louvre, 1808). He commissioned him to color the
well-known Stratonice (Chantilly, musée Condé, 1835-1840), and in addition requested
him to color his Portrait (Paris, Musée du Louvre, 1842). These three
masterpieces linked to one of many best lovers of Ingres’ artwork might be
exhibited collectively for the primary time.
After their son, the Prince Royal’s, unintended demise on July 13, 1842, on the
age of thirty-two, King Louis-Philippe and Queen Marie-Amélie determined
to entrust Ingres with the creation of the stained-glass home windows for the
Saint-Ferdinand chapel, which was constructed lower than a 12 months after the tragedy
on the very spot the place the duke died, close to the Porte Maillot in Paris. The
stained glass home windows depict the royal household’s patron saints: St. Philip,
St. Louis, St. Amelia, St. Ferdinand, and many others., Ingres gave these characters the
Orléans relations’ faces. The bereaved royal couple repeated the
expertise the next 12 months on the royal chapel in Dreux (1844), 

Jean-Auguste-Dominique Ingres (1780-1867)
Stratonice, or The Sickness of Antiochus, 1840
Canvas; H. 0,57 ; W. 0,98 m
Chantilly, musée Condé, PE 432
© RMN-Grand Palais Domaine de Chantilly-Harry Bréjat 

Jean-Auguste-Dominique Ingres
(Montauban, 1780 – Paris, 1867) Self-portrait of Ingres at age twenty-four, 1804
(Salon of 1806)
Canvas; H. 0,77 ; W. 0,61 m
Chantilly, musée Condé, PE 430
© RMN-Grand Palais Domaine de Chantilly-Harry Bréjat 

CHANTILLY, A SANCTUARY TO
INGRES’ GLORY 

In October 1847, Henri d’Orléans, Duke of Aumale (1822-1897),
additionally commissioned Ingres to color stained glass home windows for
the Château de Chantilly’s chapel. It had been bequeathed
to him by his great-uncle, the final Prince of Condé, and he
supposed to revive it after the revolutionary destruction.
Ingres and the Duke of Orléans’ so particular relationship was
additionally partly the rationale for the Duc d’Aumale’s acquisitions, who
donated Chantilly to the Institut de France and was one of many
nineteenth century best French collectors. It was in reminiscence of
his elder brother, who had all of the sudden handed away, that the Duc
d’Aumale acquired 5 main work and a big drawing by
the artist. These are actually saved on the musée Condé in Chantilly.
This exhibition will shed new gentle on these masterpieces,
due to the unprecedented reunion of the preparatory
drawings and variants related to them, which can present
us spherical again into the grasp’s studio.
The exhibition additionally remembers that after Ingres’s demise, the Duc
d’Aumale wished to amass Homer Deified (Paris, Musée du
Louvre, 1865), a significant work by Ingres and, in a manner, his creative
testomony, a challenge that was deserted because of political
occasions. 

Jean-Auguste-Dominique Ingres (1780-1867)
Oedipus and the Sphinx
Canvas
Paris, Musée du Louvre
© RMN-Grand Palais Musée du Louvre – Frank Raux 

STRIVING FOR PERFECTION 

gres was delicate to criticism and a perfectionist, an eternally dissatisfied artist who
sought the perfect magnificence, consistently revisiting his compositions, modifying them and
enriching them, generally after a number of a long time. Current scientific analyses (X-rays,
ultraviolet, infrared, and many others.) carried out on the Centre de Recherches et de Restauration
des Musées de France (C2RMF) within the Louvre Palace, visually present how Ingres reworked
and modified his best masterpieces. The Self-Portrait is one among them, painted when
he was twenty-four presumably (Chantilly, musée Condé), begun in 1804 and accomplished
round 1850; or the nice Venus Anadyomene (Chantilly, musée Condé), undertaken
in 1808 in Rome and accomplished in 1848. On this respect, Antiochus and Stratonice
(Chantilly, musée Condé), commissioned by the Duc d’Orléans, is a living proof: whereas
Ingres was impressed by his grasp David (Paris, École nationale supérieure des Beauxof the Orléans household, in addition to in Carheil (Loire Atlantique)
on the Prince of Joinville’s dwelling, and in 1842 commissioned a
giant spiritual portray for the Château de Bizy’s chapel.
The Duke of Montpensier, the Royal Prince’s youthful brother,
quickly grew to become near Ingres, commissioning a piece from him
in 1847 (Brussels, Musée Royal des Beaux-Arts). It’s introduced
in a singular manner by the exhibition.
It’s this household historical past, this privileged relationship positioned at
the center of the exhibition that can give us the chance
to rediscover a unprecedented artist’s work and character.
chateaudechantilly.fr
Arts, 1774), he then sought the perfect composition, producing
as much as three drawings and 5 work on this theme. Every
work was totally researched: Ingres was an admirable
draftsman who multiplied research of the entire and of particulars,
and the exhibition brings collectively sketches and preparatory
research round every main work. 

Jean-Auguste-Dominique Ingres (1780-1867)
Venus Anadyomene
Canvas. H. 1,63 ; W. 0,92 m
Chantilly, musée Condé, PE 433
© RMN-Grand Palais Domaine de Chantilly 

EXTRAORDINARY LOANS 

The exhibition is chronological, presenting greater than 110 works
that retrace, via commissions and princely collections,
a panorama of Ingres’ profession, from his beginnings in Paris to
his final years, together with his two stays in Italy. The distinctive
help of the Musée Ingres Bourdelle in Montauban has
been key in bringing collectively almost forty works by the grasp,
thereby enabling us to review the genesis of the primary works
on show. The Frick Assortment in New York is lending the
well-known Portrait of Mme d’Haussonville, a significant Orléanist
determine, which is leaving the New York museum as a particular
one-off.
Main French and international museums can even take part within the
challenge via quite a few loans: Amongst others, in France,
the Musée du Louvre, the Musée d’Orsay, the Château de
Versailles, the Musée des Arts Décoratifs, the Bibliothèque
Nationale de France, the École Nationale Supérieure des
Beaux-Arts de Paris, the Institut de France, the Musée Fabre
in Montpellier. Additionally in the USA the Metropolitan
Museum of New York and the Hyde Assortment (Glens Falls).
After which once more in the UK the Barber Institute of
Birmingham. In Switzerland, the Kunstmuseum of Bern and the
Napoleon Museum of Thurgau in Arenenberg; in Belgium the
Royal Museum of Effective Arts; within the Netherlands the Boijmans
van Beuningen Museum in Rotterdam and the Museum of
Amsterdam, and many others. , apart from quite a few non-public collections.
The scientific catalog that can accompany the exhibition will
convey collectively the very best specialists on the topic, main
to new advances in our data of the artist. It will likely be an
alternative to find little-known main works, a few of
which by no means earlier than exhibited in France.

Jean-Auguste-Dominique Ingres (1780-1867)
Madame d’Haussonville, 1845
Canvas; H. 1.318; W. 0.92 m
New York, The Frick Assortment, 1927.1.81
© Frick assortment