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  • 02/13/17--05:39: Joe Tilson - part 4
  • During the 1960s Tilson became one of the leading figures associated with the British Pop Art movement. Making use of his previous experience as a carpenter and joiner, Tilson produced wooden reliefs and constructions as well as prints and paintings.


    Tilson's work has been exhibited regularly in solo shows throughout the world. He was elected an Associate of the Royal Academy (ARA) in 1985 and a full Royal Academician (RA in 1991. He lives and works in London and Italy.



    For earlier works see parts 1 - 3 also.
    This is part 4 of a 5 - part series on the works of Joe Tilson:


    1971 Alcheringa 1 - Fire
    screenprint and mixed media on paper 97.8 x 67.9 cm
    © Joe Tilson. All Rights Reserved, DACS 2017

    1971 Alcheringa 2 - Air
    screenprint and mixed media on paper 97.8 x 67.9 cm

    © Joe Tilson. All Rights Reserved, DACS 2017

    1971 Alcheringa 3 - Water
    screenprint on paper 97.8 x 67.9 cm

    © Joe Tilson. All Rights Reserved, DACS 2017

    1971 Alcheringa 4 - Earth
    screenprint and mixed media on paper 97.8 x 67.9 cm

    © Joe Tilson. All Rights Reserved, DACS 2017

    1971 Let a Thousand Parks Bloom
    screenprint 95.2 x 65.4 cm

    © Joe Tilson. All Rights Reserved, DACS 2017

    1971 Transparency, Clip-o-Matic Breast
    screenprint 71.1 x 50.8 cm

    © Joe Tilson. All Rights Reserved, DACS 2017

    1971 Transparency, Snapshot
    screenprint 69.8 x 54.9 cm

    © Joe Tilson. All Rights Reserved, DACS 2017

    1972 Earth Ritual
    screenprint 102.6 x 70.2 cm

    © Joe Tilson. All Rights Reserved, DACS 2017

    1972 Four Elements - Mudra
    screenprint 24.4 x 56.2 cm

    © Joe Tilson. All Rights Reserved, DACS 2017

    1972 Mother Earth
    screenprint and straw 61.3 x 92.1 cm

    © Joe Tilson. All Rights Reserved, DACS 2017

    1972 Tools of the Shaman
    screenprint, rope and feather 102.2 x 69.5 cm

    © Joe Tilson. All Rights Reserved, DACS 2017


    1973 Fire Wheel
    mixed media on card 50 x 60 cm

    © Joe Tilson. All Rights Reserved, DACS 2017

    1987 Fire Wheel
    wood sculpture 55 cm diameter

    © Joe Tilson. All Rights Reserved, DACS 2017

    1987 Fire Wheel 
    wood sculpture 55 cm diameter
    © Joe Tilson. All Rights Reserved, DACS 2017


    1973 Mysterious Principles of the Blue Bag
    screenprint and feather 101.3 x 70.5 cm

    © Joe Tilson. All Rights Reserved, DACS 2017

    1973 Namings and Origins
    screenprint 101.9 x 71.4 cm

    © Joe Tilson. All Rights Reserved, DACS 2017

    1973 Oceanus / Tethys
    screenprint and collage, string and metal 101.7 x 70.2 cm

    © Joe Tilson. All Rights Reserved, DACS 2017

    1973 Proscinèmi, Dodona, the Oracle of Zeus
    etching, aquatint, photo-etching and photo-lithography, metal 91.8 x 65.2 cm

    © Joe Tilson. All Rights Reserved, DACS 2017

    1975 Labyrinth
    intaglio print on paper 27.9 x 27 cm

    © Joe Tilson. All Rights Reserved, DACS 2017

    1975 Moon Signatures
    screenprint and white gold leaf on paper 91 x 61.6 cm

    © Joe Tilson. All Rights Reserved, DACS 2017

    1975 Sun Signatures
    screenprint 97.8 x 68.6 cm

    © Joe Tilson. All Rights Reserved, DACS 2017

    1975 Ziggurat
    screenprint and collage 89 x 62.5 x 4 cm

    © Joe Tilson. All Rights Reserved, DACS 2017

    1976 Origins
    etching and aquatint 49.5 x 58.7 cm

    © Joe Tilson. All Rights Reserved, DACS 2017

    1976 Six Labyrinths
    screenprint 73.7 x 68.3 cm

    © Joe Tilson. All Rights Reserved, DACS 2017

    1976-77 Alchera: Notes for Country Works 1970-1974:


    1976-77 Untitled
    screenprint 50.2 x 69.8 cm

    © Joe Tilson. All Rights Reserved, DACS 2017

    1976-77 Untitled 
    screenprint 50.2 x 69.8 cm
    © Joe Tilson. All Rights Reserved, DACS 2017

    1976-77 Untitled 
    screenprint 50.2 x 69.8 cm
    © Joe Tilson. All Rights Reserved, DACS 2017

    1976-77 Untitled
    screenprint 69.8 x 50.2 cm

    © Joe Tilson. All Rights Reserved, DACS 2017

    1976-77 Untitled 
    screenprint 69.8 x 50.2 cm
    © Joe Tilson. All Rights Reserved, DACS 2017

    1976-77 Untitled 
    screenprint 69.8 x 50.2 cm
    © Joe Tilson. All Rights Reserved, DACS 2017

    1976-77 Untitled 
    screenprint 69.8 x 50.2 cm
    © Joe Tilson. All Rights Reserved, DACS 2017

    1976-77 Untitled 
    screenprint 69.8 x 50.2 cm
    © Joe Tilson. All Rights Reserved, DACS 2017

    1976-77 Untitled 
    screenprint 69.8 x 50.2 cm
    © Joe Tilson. All Rights Reserved, DACS 2017

    1976-77 Untitled 
    screenprint 69.8 x 50.2 cm
    © Joe Tilson. All Rights Reserved, DACS 2017

    1976-77 Untitled 
    screenprint 69.8 x 50.2 cm
    © Joe Tilson. All Rights Reserved, DACS 2017

    1976-77 Untitled 
    screenprint 69.8 x 50.2 cm
    © Joe Tilson. All Rights Reserved, DACS 2017

    1976-77 Untitled 
    screenprint 69.8 x 50.2 cm
    © Joe Tilson. All Rights Reserved, DACS 2017

    1976-77 Untitled 
    screenprint 69.8 x 50.2 cm
    © Joe Tilson. All Rights Reserved, DACS 2017

    1976-77 Untitled 
    screenprint 69.8 x 50.2 cm
    © Joe Tilson. All Rights Reserved, DACS 2017

    1976-77 Untitled 
    screenprint 69.8 x 50.2 cm
    © Joe Tilson. All Rights Reserved, DACS 2017

    1976-77 Untitled 
    screenprint 69.8 x 50.2 cm
    © Joe Tilson. All Rights Reserved, DACS 2017

    1976-77 Untitled 
    screenprint 69.8 x 50.2 cm
    © Joe Tilson. All Rights Reserved, DACS 2017

    1976-77 Untitled 
    screenprint 69.8 x 50.2 cm
    © Joe Tilson. All Rights Reserved, DACS 2017

    1976-77 Untitled 
    screenprint 69.8 x 50.2 cm
    © Joe Tilson. All Rights Reserved, DACS 2017

    1976-77 Untitled 
    screenprint 69.8 x 50.2 cm
    © Joe Tilson. All Rights Reserved, DACS 2017


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  • 02/15/17--05:50: Joe Tilson - part 5
  • During the 1960s Tilson became one of the leading figures associated with the British Pop Art movement. Making use of his previous experience as a carpenter and joiner, Tilson produced wooden reliefs and constructions as well as prints and paintings.


    Tilson's work has been exhibited regularly in solo shows throughout the world. He was elected an Associate of the Royal Academy (ARA) in 1985 and a full Royal Academician (RA in 1991. He lives and works in London and Italy.



    For earlier works see parts 1 - 4 also.
    This is part 5 of a 5 - part series on the works of Joe Tilson:


    1976-77 Wessex Portfolio:


    1976-77 Untitled
    etching 28.7 x 38.2 cm
    © Joe Tilson. All Rights Reserved, DACS 2017

    1976-77 Untitled
    etching 38.5 x 18.4 cm 
    © Joe Tilson. All Rights Reserved, DACS 2017

    1976-77 Untitled
    etching 38.5 x 18.5 cm 
    © Joe Tilson. All Rights Reserved, DACS 2017

    1976-77 Untitled
    etching 38.6 x 18.9 cm 
    © Joe Tilson. All Rights Reserved, DACS 2017

    1976-77 Untitled
    etching 38.7 x 18.5 cm 
    © Joe Tilson. All Rights Reserved, DACS 2017

    1976-77 Untitled
    etching 38.8 x 18.5 cm 
    © Joe Tilson. All Rights Reserved, DACS 2017

    1976-77 Untitled
    etching 38.8 x 18.5 cm 
    © Joe Tilson. All Rights Reserved, DACS 2017


    *         *         *         *         *


    1978 Demetrius’ Ladder
    etching, aquatint and screenprint 87.3 x 40.6 cm
    © Joe Tilson. All Rights Reserved, DACS 2017

    1978 Proscinemi, Tyrins
    etching, aquatint, mezzotint, lithograph, paper and string on paper 88.9 x 59.1 cm
    © Joe Tilson. All Rights Reserved, DACS 2017

    1979 Proscinemi, Delphi
    photograph, colour, on paper on etching and aquatint on paper 80 x 57.8 cm
    © Joe Tilson. All Rights Reserved, DACS 2017

    1979 Proscinemi, Olympia
    photograph, etching and aquatint 80 x 58.1 cm
    © Joe Tilson. All Rights Reserved, DACS 2017

    1980 Adelphi
    lithograph and collage on canvas 73.7 x 62.2 cm
    © Joe Tilson. All Rights Reserved, DACS 2017

    1980 Earthearth
    etching and aquatint with carborundum 98.8 x 107.4 cm
    © Joe Tilson. All Rights Reserved, DACS 2017

    1980 Oak Oracle
    etching and mixed media on paper 80.3 x 57.1 cm
    © Joe Tilson. All Rights Reserved, DACS 2017

    1981 Earth Cube I
    etching, aquatint and carborundum 110.8 x 96.8 cm
    © Joe Tilson. All Rights Reserved, DACS 2017

    1981 Proscinèmi, for Demeter
    etching and aquatint, collage and lithography 80.6 x 122 cm
    © Joe Tilson. All Rights Reserved, DACS 2017

    1981 Proscinèmi, for Persephone
    etching, collage and lithography 80.5 x 121.7 cm
    © Joe Tilson. All Rights Reserved, DACS 2017

    1981 The Oracle of Zeus
    etching and aquatint 120.8 x 135.9 cm
    © Joe Tilson. All Rights Reserved, DACS 2017

    1981c Earth Cube
    earth pigments on wood relief 112.5 x 112 cm
    © Joe Tilson. All Rights Reserved, DACS 2017

    1982 Proscimèni, for Demeter Version A
    oil
    © Joe Tilson. All Rights Reserved, DACS 2017

    1982 The Arrival of Dionysos
    etching, aquatint and carborundum on paper 55.2 x 46.4 cm
    © Joe Tilson. All Rights Reserved, DACS 2017

    1982 The Arrival of Dionysos
    etching, aquatint and carborundum on paper 55.2 x 46.4 cm
    © Joe Tilson. All Rights Reserved, DACS 2017

    1982 The Arrival of Dionysos
    etching, aquatint and carborundum on paper 55.2 x 46.4 cm
    © Joe Tilson. All Rights Reserved, DACS 2017

    1983 Proscinèmi, for Kore
    etching and aquatint on 4 sheets
    © Joe Tilson. All Rights Reserved, DACS 2017

    1984 Mask of Okeanos
    woodcut, etching and aquatint with carborundum 115.2 x 104 cm
    © Joe Tilson. All Rights Reserved, DACS 2017

    1985 Fruits of Dyonysos
    etching and aquatint 87 x 74 cm
    © Joe Tilson. All Rights Reserved, DACS 2017

    1985 Persephone
    etching and aquatint 87 x 76 cm
    © Joe Tilson. All Rights Reserved, DACS 2017

    1985-89 Liknon series:


    1985 Liknon
    etching and aquatint 87 x 76 cm
    © Joe Tilson. All Rights Reserved, DACS 2017

    1987 Liknon 3
    oil on canvas mounted on wood 196.6 x 197.5 cm
    © Joe Tilson. All Rights Reserved, DACS 2017

    1987 Liknon
    etching and lithograph 30.5 x 30.5 cm
    © Joe Tilson. All Rights Reserved, DACS 2017

    1989 Liknon of Poseidon
    silkscreen 98 x 101 cm
    © Joe Tilson. All Rights Reserved, DACS 2017

    1989 Liknon Red
    screenprint 99.1 x 101.6 cm
    © Joe Tilson. All Rights Reserved, DACS 2017

    Liknon and Grapes
    oil on wood 47.2 x 47.2 cm
    © Joe Tilson. All Rights Reserved, DACS 2017


    *          *          *         *         *

    1987 Earth Earth, 1987
    diamond wood shapes with pyrographed and iron letters 50 x 57 cm
    © Joe Tilson. All Rights Reserved, DACS 2017

    1987 Road to Eleusis 2
    oil on canvas 200 x 206 cm
    Harris Museum and Art Gallery, Preston, UK
    © Joe Tilson. All Rights Reserved, DACS 2017

    1989 Dyonisos Prassinos
    etching with carborundum 99 x 101 cm
    © Joe Tilson. All Rights Reserved, DACS 2017

    1990 Fire, Air, Water, Earth
    screenprint 29.2 x 20.3 cm
    © Joe Tilson. All Rights Reserved, DACS 2017

    1992 Prelude No.1
    etching 57 x 69 cm
    © Joe Tilson. All Rights Reserved, DACS 2017

    1993-95 Le Crete Senesi:

    1993 Pari
    mixed media on card 40 x 35 cm
    © Joe Tilson. All Rights Reserved, DACS 2017

    1995 Castello
    screenprint and woodblock 127 x 106.7 cm
    © Joe Tilson. All Rights Reserved, DACS 2017

    1995 Crete Le Baize Orcia
    screenprint and woodblock 127 x 106.7 cm
    © Joe Tilson. All Rights Reserved, DACS 2017

    1995 Gabbro
    screenprint and woodcut 88.7 x 61.9 cm
    © Joe Tilson. All Rights Reserved, DACS 2017

    1995 Murlo
    screenprint and woodcut 88.7 x 62 cm
    © Joe Tilson. All Rights Reserved, DACS 2017

    1995 Sasso
    screenprint and woodcut 88.7 x 62.1 cm
    © Joe Tilson. All Rights Reserved, DACS 2017

    1995 Serre
    screenprint and woodcut 88.7 x 62 cm
    © Joe Tilson. All Rights Reserved, DACS 2017

    *         *         *         *         *

    2011 Finestra Veneziana Cà d'Oro
    mixed media 31 x 52.5 x 4.8 cm
    © Joe Tilson. All Rights Reserved, DACS 2017

    2012 Goldfinch Diptych
    screenprint, etching and carborundum 40.6 x 53.3 cm

    © Joe Tilson. All Rights Reserved, DACS 2017

    2014 The Stones of Venice, San Trovaso, Venaga, 2014© Joe Tilson. All Rights Reserved, DACS 2017


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  • 02/16/17--05:46: Art Nouveau Covers - part 1

  • Art Nouveau was a movement in the visual arts popular from the early 1890s up to the First World War. It is viewed by some as the first self-conscious attempt to create a modern style. Its influence can be found in painting, sculpture, jewellery, metalwork, glass and ceramics. The drawings of Aubrey Beardsley, the architecture of Victor Horta and Paul Hankar and the poster designs of Alphonse Mucha are some of the most familiar examples of the Art Nouveau style.


    Part 1 of a 2-part post on examples of book covers and periodicals employing the Art Nouveau style:


    1893 Our Village by Miss Mitford
    illustrated by High Thomson
    Digital Library of the Caribbean (dLOC) www.dloc.com

    1895 Fairy Tales Far and Near
    Digital Library of the Caribbean (dLOC) www.dloc.com

    1895 More Fairy Tales from the Arabian Nights
    Digital Library of the Caribbean (dLOC) www.dloc.com

    1895 Reynard the Fox
    illustrated by Frank Calderon

    1895c Pilgrim's Progress
    In Words of One Syllable

    1896 Bébée
    or Two Little Wooden Shoes

    1896 Jugend
    May 1896 issue

    1896 Teddy and Carrots by James Otis

    1896 To Tell the King the Sky is Falling
    by Sheila E. Braine

    1897 La Plume
    cover illustration by Alphonse Much
    a

    1897 Legends of the Red Children
    by Mara L. Pratt
     Digital Library of the Caribbean (dLOC) www.dloc.com

    1897 Once Upon a Time and Other Child Verses
    Digital Library of the Caribbean (dLOC) www.dloc.com

    1897 That Football Game
    by Francis J. Finn
    Digital Library of the Caribbean (dLOC) www.dloc.com

    1897 The Echo-Maid and Other Stories
    by Alicia Aspinwall
    Digital Library of the Caribbean (dLOC) www.dloc.com

    1897 The Odd One
    Digital Library of the Caribbean (dLOC) www.dloc.com

    1897 The Parade
    illustrated by Aubrey Beardsley

    1897 The Parade
    illustrated by Aubrey Beardsley

    1897 The Royal Road to Riches
    Digital Library of the Caribbean (dLOC) www.dloc.com

    1898 A Thoughtless Seven
    by Amy le Feuvre
    Digital Library of the Caribbean (dLOC) www.dloc.com

    1898 Laura's Holidays
    by Henrietta R. Eliot
    Digital Library of the Caribbean (dLOC) www.dloc.com

    1898 Old Clock in the Parlour
    Digital Library of the Caribbean (dLOC) www.dloc.com

    1898 The Forlorn Hope
    Digital Library of the Caribbean (dLOC) www.dloc.com

    1898 The Magic Nuts
    Digital Library of the Caribbean (dLOC) www.dloc.com

    1898 The Miff-Miffs
    by Mabel Mackness
    Digital Library of the Caribbean (dLOC) www.dloc.com

    1898 The Story of a Persian Cat
    Digital Library of the Caribbean (dLOC) www.dloc.com

    1898 W.V.'s Golden Legend
    by William Canton

    1898 A La Quartier Latin
    cover illustration by Alphonse Mucha

    1898 Tommy the Adventurous
    Digital Library of the Caribbean (dLOC) www.dloc.com

    1899 A Forgotten Link
    by Maria A. Hoyer
    Digital Library of the Caribbean (dLOC) www.dloc.com

    1899 Ivory Apes and Peacocks
    by Israfel

    1899 L'Art Photographique
    cover illustration by Alphonse Mucha

    1899 Lilliput Lyrics






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  • 02/20/17--05:55: Art Nouveau Covers - part 2
  • Art Nouveau was a movement in the visual arts popular from the early 1890s up to the First World War. It is viewed by some as the first self-conscious attempt to create a modern style. Its influence can be found in painting, sculpture, jewellery, metalwork, glass and ceramics. The drawings of Aubrey Beardsley, the architecture of Victor Horta and Paul Hankar and the poster designs of Alphonse Mucha are some of the most familiar examples of the Art Nouveau style.


    Part 2 of a 2-part post on examples of book covers and periodicals employing the Art Nouveau style:


    1899 Rip van Winkle by Washington Irving
    Digital Library of the Caribbean (dLOC) www.dloc.com

    1899 Sleepy-Time Stories by Maud Ballington Booth
    Digital Library of the Caribbean (dLOC) www.dloc.com

    1899 The Princess of Hearts by Sheila Braine
    illustrated by Alice B Woodward
    Digital Library of the Caribbean (dLOC) www.dloc.com

    1899 The Prodigal Son and Other Stories

    1899 The Reign of the Princess Naska
    Digital Library of the Caribbean (dLOC) www.dloc.com

    1901 A Daughter of New France by Mary Catherine Crowley

    1902 According to Season by Frances Theodora Parsons

    1905 The Fool Errant by Maurice Hewlett

    1903 El Figaro ( Cuba )
    cover by Joaquin Valls

    1919 Einführung in die Biologie by K. Kraepelin

    A Child of Age by Francis Adams
    cover illustration by Aubrey Beardsley

    A Warwickshire Lad by George Madden Martin

    Aunt Amity's Silver Wedding by Ruth McEnery Stuart

    Clover and Blue Grass by Eliza Calvert Hall

    Ellen and Mr. Man by Gouverneur Morris

    Francesca da Rimini by George H Boker

    Japhet in Search of a Father
    illustrated by Henry M Brock

    Maid Marion - Crochet Castle
    illustrated by F H Townsend

    Napoleon Jackson by Ruth McEnery Stuart

    On Newfound River by Thomas Nelson Page

    Ramona by Helen Jackson

    Salome by Oscar Wilde
    illustrated by Aubrey Beardsley

    Sonny - A Christmas Guest by Ruth McEnery Stuart

    Susan by Amy Walton
    cover by Talwin Morris

    The Basket of Flowers
    cover by Ethel Larcombe

    The Blue Flower by Henry Van Dyke

    The Book of the Home

    The Book of the Home back cover

    The Church Mouse

    The Love Letters of the King or The Life Romantic
    by Richard Le Gallienne

    The Millionaire's Son by Anna Robeson Brown

    The Song of Hiawatha
    cover image by Alphonse Mucha

    The Witching Hour by Augustus Thomas


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    1800c Jean-Auguste-Dominique Ingres by Jaques-Louis David
    oil on canvas 54 x 47 cm
    Pushkin Museum, Moscow

    Jean-Auguste-Dominique Ingres (1780 – 1867) was a French Neoclassical artist. Although he considered himself to be a painter of history in the tradition of Nicolas Poussin and Jacques-Louis David, by the end of his life it was Ingres's portraits, both painted and drawn, that were recognised as his greatest legacy.
    Ingres was born in Montauban, France, the first of seven children. His father was a successful jack-of-all-trades in the arts, a painter of miniatures, sculptor, decorative stonemason, and amateur musician; his mother was the nearly illiterate daughter of a master wigmaker.From his father the young Ingres received early encouragement and instruction in drawing and music, and his first known drawing, a study after an antique cast, was made in 1789.

    Starting in 1786 he attended the local school École des Frères de l'Éducation Chrétienne, but his education was disrupted by the turmoil of the French Revolution, and the closing of the school in 1791 marked the end of his conventional education. The deficiency in his schooling would always remain for him a source of insecurity.

    In 1791, Joseph Ingres took his son to Toulouse, where the young Jean-Auguste-Dominique was enrolled in the Académie Royale de Peinture, Sculpture et Architecture. There he studied under the sculptor Jean-Pierre Vigan, the landscape painter Jean Briant, and the neoclassical painter Guillaume-Joseph Roques. Roques' veneration of Raphael was a decisive influence on the young artist.Ingres won prizes in several disciplines, such as composition, "figure and antique", and life studies.

    In March 1797, the Academy awarded Ingres first prize in drawing, and in August he travelled to Paris to study with Jacques-Louis David, France's - and Europe's - leading painter during the revolutionary period, in whose studio he remained for four years. He was admitted to the Painting Department of the École des Beaux-Arts in October 1799, and won, after tying for second place in 1800, the Grand Prix de Rome in 1801 for his “The Ambassadors of Agamemnon in the Tent of Achilles.”His trip to Rome, however, was postponed until 1806, when the financially strained government finally appropriated the travel funds.


    1801 The Ambassadors of Agamemnon in the Tent of Achilles
    oil on canvas 110 x 155 cm
    École nationale supérieure des Beaux-Arts, Paris

    In 1802 he made his debut at the Salon with “Portrait of a Woman” (the current whereabouts of which is unknown). The following year brought a prestigious commission, when Ingres was one of five artists selected to paint full-length portraits of Napolean Bonaparte as First Consul.  These were to be distributed to the prefectural towns which were newly ceded to France in 1801. Napoleon is not known to have granted the artists a sitting, and Ingres's meticulously painted portrait appears to be modelled on an image of Napoleon painted by Antoine-Jean Gros in 1802. 

    1804 Napoleon Bonaparte in the Uniform of the First Consul
    oil on canvas 227 x 147 cm
    Musée d'Armes, Liège, Belgium

    Antoine-Jean Gros
    Napolean Bonaparte as First Consul
    oil on canvas 208 x 130.9 cm

    In the summer of 1806 Ingres became engaged to Marie-Anne-Julie Forestier, a painter and musician, before leaving for Rome in September. Although he had hoped to stay in Paris long enough to witness the opening of that year's Salon, in which he was to display several works, he reluctantly left for Italy just days before the opening. At the Salon, his paintings, including “Napolean I on his Imperial Throne,” produced a disturbing impression on the public. Both David and the critics were uniformly hostile, finding fault with the strange discordances of colour, the want of sculptural relief, the chilly precision of contour, and the self-consciously archaic quality.

    1806 Napolean I on his Imperial Throne
    oil on canvas 260 x 163 cm
    Musée de I'Arnée, Paris

    Newly arrived in Rome, Ingres read with mounting indignation the relentlessly negative press clippings sent to him from Paris by his friends. In letters to his prospective father-in-law, he expressed his outrage at the critics: "So the Salon is the scene of my disgrace; ... The scoundrels, they waited until I was away to assassinate my reputation ... I have never been so unhappy." He vowed never again to exhibit at the Salon, and his refusal to return to Paris led to the breaking up of his engagement to Julie Forestier.

    Installed in a studio on the grounds of the Villa Medici, Ingres continued his studies and, as required of every winner of the Prix, he sent works at regular intervals to Paris so his progress could be judged. As his “envoi” of 1808 Ingres sent “Oedipus and the Sphinx” and “The Valpinçon Bather,” hoping by these two paintings to demonstrate his mastery of the male and female nude. The verdict of the academicians was that the figures were not sufficiently idealized. In later years Ingres painted variants of both compositions; another nude begun in 1807, the “Venus Anadyomene,” remained in an unfinished state for decades, to be completed forty years later and finally exhibited in 1855.


    1808 Oedipus and the Sphinx
    oil on canvas 189 x 144 cm
    Musée du Louvre, Paris

    n.d. Study for "Oedipus and the Sphinx"
    graphite on wove paper 50.7 x 39 cm
    The Morgan Library and Museum, New York City

    1808 The Valpinçon Bather
    oil on canvas 146 x 97.5 cm
    Musée du Louvre, Paris

    1808 The Valpinçon Bather
    watercolour and white gouache over graphite on white wove paper 34 x 22.8 cm
    Fogg Museums, Harvard Art Museums, Cambridge, MA

    In 1810 Ingres's pension at the Villa Medici ended, but he decided to stay in Rome and seek patronage from the French occupation government. In 1811 Ingres finished his final student exercise, the immense “Jupiter and Thetis,” which was once again harshly judged in Paris.


    1811 Jupiter and Thetis
    oil on canvas 32 x 260 cm
    Musée Granet, Aix-en-Provence, France

    The desire to stay in Italy after his scholarship ended prompted Ingres to earn a living once again as a portraitist, this time of Napoleonic officials and dignitaries. Whatever prosperity he had acquired disappeared in 1825 with the fall of the Napoleonic Empire. Though he despised such commissions, Ingre’s portraits are among his most admired works. He eventually distinguished himself as a master of the “Troubadour” genre, painting Medieval and Renaissance subjects in the artistic likeness of each prospective period. An example is “Paolo and Francesca,” which features two ill-fated lovers from Dante’s “Inferno.” He produced seven known versions between 1814 and 1819.

    1819 Paolo and Francesca
    oil on canvas
    Musée des Beaux-Arts, Angers, France

    Also exhibited in the same Salon was “La Grande Odalisque.” Although it would later become a most celebrated painting, critics of the day were outraged by it’s presence in the Salon. Once again Ingres’ subtle modelling was attacked. His perverse desires for human anatomy, as seen by the elongation of her back made her an “unknown creature.”

    1814 La Grande Odalisque
    oil on canvas 91 x 162 cm
    Musée du Louvre, Paris

    At the age of 40 Ingres final caught a break as he gained positive recognition as a religious painter. In 1820 he moved from Rome to Florence and adapted to the evolution of a more conventional, classical style. At the 1824 Salon, Ingres gained critical praise for “The Vow of Louis XIII,” displaying the union of Church and State. He was also elected to the Académie des Beaux-Arts.

    1824 The Vow of Louis XIII
    oil on canvas 421 x 262 cm
    Cathédrale Notre-Dame de Montauban, France

    With this one exhibit, his role as the most vilified artist in France transformed into one of the most celebrated, and prompted him to stay in the country. The following year he opened what would become the largest and most important teaching studio in Paris. Going back to his love of history paintings, Ingres created “Apotheosis of Homer.” its exhibition in the 1827 Salon helped to establish Ingres as a cultural conservator who defended the authority of the ancients.

    1827 Apotheosis of Homer
    oil on canvas 386 x 515 cm
    Musée du Louvre, Paris

    In 1829 Ingres became professor at the École des Beaux-Arts, and four years later he was elected President for the following year. During that period however, Ingres was accused of imposing his personal style on the entire school, and such heavy charges were not forgotten. At the 1834 Salon, Ingres’ “Martyrdom of Saint-Symphorien” was violently criticized by all. Ingres vowed that this would be his last exhibit at the Salon. That same year he left Paris for Rome once more to direct at the Académie de France.

    1834 The Martyrdom of Saint Symphorian
    oil on canvas
    Autun Cathedral, France

    During his six years at the Académie he continued with his own works. The positive response to “Antiochus and Stratonice” was once again in his favour. In 1841 he returned to Paris triumphant, even dining with the King.

    1840 Antiochus And Stratonice
    oil on canvas
    Musée Condé, Chantilly, France

    In his 60s Ingres was recognized as the greatest living artist in France. Though a history painter, his major commissions were portraits, as he became the most sought-after portraitist. Abstaining from the Salon for more than two decades, Ingres entered 69 pieces to the 1855 Universal Exposition in Paris. The reviews were mixed; to the Conservatives he was the last great representative of “the grand tradition,” to the Progressives his style was old-fashioned and irrelevant to contemporary advance in painting. Continuing to paint into his latter years prved beneficial for Ingres – it was then that he completed his most notable works; his two most recognizable pieces, “La Source” and “The Turkish Bath.”

    “La Source” is a representation of a nude 13-year old girl without the anatomical distortion so often seen in Ingres work.


    1856c La Source
    oil on canvas 163 x 80 cm
    Musée d'Orsay, Paris

    Returning to his true belief in the ideal, in “The Turkish Bath” Ingres displays the female form in many distorted poses.

    1862 The Turkish Bath
    oil on canvas 108 cm diameter
    Musée du Louvre, Paris

    Ingres was married for 36 years to his love, Madeleine. The birth of a still-born baby left them without children. Madeleine died in 1849. He continued to paint for the remainder of his widower years up until his death in 1867. He died a wealthy man, honoured and revered by many of his pupils. He left an impact on the artistic world as a true Neoclassical artist, and an inspiration to many influential painters that succeeded him.


    This is part 1 of a 9 – part series on the works of Jean-Auguste-Dominique Ingres:



    1796 Portrait of a Man
    graphite on parchment, with black ink and green watercolour 9 cm diameter
    National Gallery of Art, Washington, DC

    1797 Profile Portrait of a Man
    graphite on parchment laid on white laid paper 6.9 cm diameter
    Fogg Art Gallery, Harvard Art Museums, Cambridge, MA

    1798 Pierre Guillaume Cazeaux
    chalk
    Private Collection

    1800 Male Torso
    oil on canvas 102 x 80 cm
    École nationale supérieure des Beaux-Arts, Paris

    1800 Pierre-François Bernier (1779-1803)
    oil on canvas

    1800 Venus, Wounded by Diomedes, Returns to Olympus
    oil on wood 26.5 x 33 cm
    Kunstmuseum Basel, Switzerland

    1801 Academic Study of a Male Torso
    oil on canvas 97.5 x 80.6 cm
    National Museum, Warsaw 

    1802-06 Study of a Nymph from the Fountain of the Innocents, after Jean Goujon ( see below )
    black chalk 43.2 x 10.2 cm
    Los Angeles County Museum of Art, CA

    Jean Gojon "Nymph" 1548-49
    marble
    Musée du Louvre, Paris

    1802-06c A Nymph after Jean Gougon ( see below )
    graphite on paper 46 x 11.7 cm
    The Fitzwilliam Museum, Cambridge, UK

    Jean Gojon Nymph 1548-49
    marble
    Musée du Louvre, Paris

    1802-06c A nymph after Jean Goujon ( see below )
    graphite on paper 45.4 x 11.6 cm
    The Fitzwilliam Museum, Cambridge, UK

    Jean Gojon Nymph 1548-49 
    marble 
    Musée du Louvre, Paris
    1804 Jean-Marie-Joseph Ingres
    oil on canvas 55 x 47 cm
    Musée Ingres, Montauban, France

    1804 Portrait of a Young Woman
    black chalk and stumping on cream wove paper 39.8 x 32 cm
    Fogg Art Gallery, Harvard Art Museums, Cambridge, MA

    1804-05c Jean-Pierre-François Gilibert
    oil on canvas 99 x 81 cm
    Musée Ingres, Montauban, France

    1805 Belveze-Foulon
    Musée Ingres, Montauban, France

    1805 Joseph Vialètes de Mortarieu
    oil on canvas 56 x 46 cm
    Norton Simon Museum, Pasadena, CA

    1805 Mademoiselle Rivière
    oil on canvas 100 x 70 cm
    Musée du Louvre, Paris

    1805 Philbert Rivière
    oil on canvas 116 x 89 cm
    Musée du Louvre, Paris

    1806  Jean François Julien Menager

    1806 Le Casino De L'Aurore De La Villa Ludovisi
    17.5 cm diameter
    Musée Ingres, Montauban, France

    1806 Madame Aymon ( La Belle Zelie )
    oil on canvas 59 x 49 cm
    Musée des Beaux-Arts de Rouen, France

    1806 Madame Rivière
    oil on canvas 116.5 x 81.7 cm
    Musée du Louvre, Paris

    1806 Maria Maddalena Magli ( Mme. Baryolini )
    graphite on cream wove paper 20.8 x 15.9 cm
    de Young / Legion of Honour Fine Arts Museums of San Francisco, CA

    1806 Orangery Villa Borghese
    17.5 cm diameter
    Musée Ingres, Montauban, France

    1806 Suvée, Director of the Academy of France in Rome
    Musée Bonnat, Bayonne, France

    1806 The Forestier Family
    graphite
    Musée du Louvre, Paris

    1807 Antonia Duvaucey de Nittis
    oil on canvas 76 x 59 cm
    Musée Condé, Chantilly, France

    1807 Half-Figure of a Bather
    oil on canvas
    Musée Bonnat, Bayonne, France

    1807 The Painter Francois-Marius Granet
    oil on canvas 74.5 x 63.2 cm
    Musée granet, Aix-en-Provence, France

    1807 View of the Villa Medici
    graphite and wash on paper 28.9 x 23.1 cm
    Musée Ingres, Montauban, France

    1808 Madame Guillaume Guillon Lethière, née Marie-Joseph-Honorée Vanzenne, and her son Lucien Lethière
    graphite 24.1 x 18.7 cm
    Metropolitan Museum of Art, New York City

    1808 Portrait of the Architect François-Désiré Girard de Bury
    graphite 13.3 x 7.9 cm
    Fogg Art Galler, Harvard Art Museums, Cambridge, MA

    1808 Victor Dourlen


    0 0

    1804 Self-Portrait ( aged 24 )
    oil on canvas 78 x 61 cm
    Musée Condé, Chantilly, France

    Jean-Auguste-Dominique Ingres (1780 – 1867) was a French Neoclassical artist. Although he considered himself to be a painter of history in the tradition of Nicolas Poussin and Jacques-Louis David, by the end of his life it was Ingres's portraits, both painted and drawn, that were recognised as his greatest legacy.

    For a full biography, and for earlier works, see part 1 also.

    This is part 2 of a 9 – part series on the works of Jean-Auguste-Dominique Ingres:


    1808-09c Docteur Jean-Louis Robin
    graphite with stumping on ivory wove paper 28.4 x 22.3 cm
    Art Institute of Chicago, IL

    1808-48 Venus Anadyomene
    oil on canvas 193 x 92 cm
    Musée Condé, Chantilly, France

    1809 Ann-Julie Mallet
    graphite on paper 29 x 19.6 cm
    Private Collection

    1809 Auguste-Jean-Marie Guénepin
    graphite on wove paper 21 x 16.3 cm
    National Gallery of Art, Washington, DC

    1809 Charles François Mallet, Civil Engineer
    graphite on cream wove paper 26.8 x 21.1 cm
    Art Institute of Chicago, IL

    1809 Merry-Joseph Blondel ( 1781-1853 )
    graphite on white paper 17.6 x 14 cm
    Metropolitan Museum of Art, New York City

    1810 Charles Hayard and His Daughter Marguerite
    Graphite
    The British Museum

    1810 Marcotte d'Argenteuil
    oil on canvas 93.7 x 69.4 cm
    National Gallery of Art, Washington, DC

    1810-20 Madame Rhode-Rhoda?
    graphite on pale buff wove paper 20.6 x 16.9 cm
    Metropolitan Museum of Art, New York City

    1810c Joseph-Antoine Moltedo ( born 1775 )
    oil on canvas 75.2 x 58.1 cm
    Metropolitan Museum of Art, New York City

    1810c The Architect Jean-Baptiste Desdeban
    oil on canvas 63 x 49 cm
    Musée des Beaux-Arts et d'Archéologie de Besançon, France

    1810c The Sculptor Paul Lemoyne
    oil on canvas 46 x 35 cm
    Nelson-Atkins Museum of Art, Kansas City, MO

    1810s-1830s A Sleeping Odalisque
    oil on canvas
    © Victoria & Albert Museum, London

    1811 Baron Jacques Marquet de Montbreton de Norvins

    1811-12 Baron Jacques Marquet de Montbreton de Norvins
    oil on canvas mounted on panel 97.2 x 78.7 cm
    The National Gallery, London


    1811 Charles-Joseph-Laurent Cordier
    oil on canvas 90 x 69.5 cm
    Musée du Louvre, Paris

    1811 Edme Bochet
    oil on canvas 94 x 69 cm

    1811 Guillaume Guillon Lethière
    graphite on white wove paper 22.4 x 16.5 cm
    Fogg Art Gallery, Harvard Art Museums, Cambridge MA

    1811 Hippolyte-François Devillers
    oil on canvas 78.5 x 96.5 cm
    Private Collection

    1811 Jupiter and Thetis
    oil on canvas 32 x 260 cm
    Musée Granet, Aix-en-Provence, France

    1811 Madame Panckoucke
    oil on canvas 68 x 93 cm

    1811 Portrait of a Man
    graphite on white wove paper 20.8 x 16 cm
    Philadelphia Museum of Art, PA

    1811 The Dream of Ossian
    graphite, black and white chalk on green-blue washed paper 26 x 20.5 cm
    National Galleries of Scotland, UK

    1811 Tu Marcellus Eris:


    1811 Tu Marcellus Eris
    oil on canvas 307 x 326 cm
    Musée des Augustins, Musée des Beaux-Arts de Toulouse, France
    1850 Study for "Tu Marcellus Eris"
    watercolour and white gouache over graphite and black crayon on tracing paper 38.5 x 33 cm
    Fogg Art Gallery, Harvard Art Museums, Cambridge MA


    1809-19c Virgil Reading the Aeneid to Augustus, Livia, and Octavia
    pen and ink, graphite, grey watercolour washes, heightened with white gouache, and conté crayon on blue paper 38.1 x 32.3 cm
    Metropolitan Museum of Art, New York City

    1812c Study for "Virgil Reading the Aeneid to Augustus"
    graphite with white chalk on brown wove paper 31.6 x 25 cm
    Fogg Museums, Harvard Art Museums, Cambridge, MA

    1812c Study of the Head of Octavia in "Virgil Reading the Aeneid to Augustus"
    graphite and white chalk on brown wove paper 15.4 x 21.8 cm
    Fogg Museums, Harvard Art Museums, Cambridge, MA
                                          
    1812 Comtesse de Tournon
    oil on canvas 92.4 x 73.2 cm
    Philadelphia Museum of Art, PA

    1812 Count Adolphe de Colombet de Landos
    graphite on white wove paper 27.5 x 20.8 cm
    Fogg Art Galler, Harvard Art Museums, Cambridge MA

    1812 Hippolyte-François Devillers ( 1767-1837 )
    graphite on wove paper 22.8 x 16.6 cm
    The Morgan Library and Museum, New York City

    1812 Mademoiselle Albertine Hayard
    graphite on paper 21.5 x 15.1 cm
    National Galleries of Scotland, UK

    1812 Philippe Mengin de Bionval
    graphite on wove paper 25.6 x 19.6 cm
    National Gallery of Art, Washington, DC

    1812 Romulus, Conqueror of Acron
    tempera on canvas 276 x 530 cm
    Musée du Louvre, Paris

    1812 Ingres in his studio, painting "Romulus, Conquerer of Acron"
    56.6 x 46.4 cm
    Musée Bonnat, Bayonne, France


    1812-25c Two Studies of Virgil
    graphite on 5 joined sheets of paper 43.8 x 30.9 cm
    National Gallery of Art, Washington, DC

    1812c Madame Hayard, née Jeanne Suzanne Alliou
    graphite on white wove paper 26.6 x 18 cm
    Fogg Art Gallery, Harvard Art Museums, Cambridge MA

    1813 Mlle. Joséphine Lacroix, first cousin of Ingres' wife
    graphite on paper 25.9 x 20 cm
    The Morgan Library and Museum, New York City

    1813 The Dream of Ossian
    oil on canvas 275 x 348 cm
    Musée Ingres, Montauban, France

    1813-14 The Betrothal of Raphael and the Niece of Cardinal Bibbiena
    oil on paper laid on canvas 59.1 x 46.5 cm
    The Walters Art Museum, Baltimore, MD

    1813c Princess Letizia Murat
    graphite on white wove paper 26.1 x 17 cm
    Fogg Museums, Harvard Art Museums, Cambridge, MA

    1814 Caroline Murat, Queen of Naples
    oil on canvas 92 x 60 cm
    Private Collection

    1814 Françoise de Rimini
    oil on canvas  35 x 28 cm
    Musée Condé, Chantilly, France


    1814 La Grande Odalisque
    oil on canvas 91 x 162 cm
    Musée du Louvre, Paris

    1824-34 ( Ingres and Workshop ) Odalisque in Grisaille
    oil on canvas 83.2 x 109.2 cm
    Metropolitan Museum of Art, New York City

    1825 Odalisque
    lithograph
    National Gallery of Art, Washington, DC


    0 0

    Jean-Auguste-Dominique Ingres (1780 – 1867) was a French Neoclassical artist. Although he considered himself to be a painter of history in the tradition of Nicolas Poussin and Jacques-Louis David, by the end of his life it was Ingres's portraits, both painted and drawn, that were recognised as his greatest legacy.

    For a full biography see part 1. For earlier works see parts 1 and 2 also.

    This is part 3 of a 8 – part series on the works of Jean-Auguste-Dominique Ingres:



    1814 Madame de Senonnes
    oil on canvas 84 x 106 cm
    Musée des Beaux-Arts, Nantes, France

    1814 Madame Haudborg-Lescot
    graphite on light grey laid paper 31.2 x 24.1 cm
    de Young - Legion of Honour Fine Arts Museums of San Francisco, CA

    1814 Madame Jean-Auguste-Dominique Ingres, née Madeleine Chapelle
    graphite on off-white paper 19.3 x 14.3 cm
    Metropolitan Museum of Art, New York

    1814 Marquis Allesandro d'Azzia
    graphite and white gouache on tan wove paper laid on cardboard 26.8 x 21.1 cm
    Fogg Art Gallery, Harvard Art Museums, Cambridge MA

    1814 Pope Pius VII in the Sistine Chapel
    oil on canvas 74.5 x 92.7 cm
    National Gallery of Art, Washington, DC

    1814 Portrait of a Man
    graphite 21.8 x 16.6 cm
    Metropolitan Museum of Art, New York

    1814 Portrait of a Seated Lady
    graphite 29.2 x 20.6 cm
    Metropolitan Museum of Art, New York City


    1814 Raphael and the Fornarina


    This composition, the first of six versions, articulates Ingres’s conception of the art of painting. For him, the oeuvre of the Renaissance artist Raphael was the pinnacle of artistic achievement. Here Ingres draws on Raphael’s relationship with the woman known as “La Fornarina” (the Little Baker), which, according to the biographer Giorgio Vasari, led to the young artist’s death from an excess of lovemaking. Raphael has just sketched the famous portrait of her, and his beloved subject sits on his knee. But Raphael has eyes only for his own creation, which, like Ingres’s representation of its model, meets the viewer’s gaze. This triangle of glances is complicated by the presence of the Virgin in Raphael’s Madonna of the Chair, seen against the back wall, where she resembles the artist’s lover.


    1814 Raphael and the Fornarina
    oil on canvas 64.8 x 53,3 cm
    Fogg Museum, Harvard Art Museums, Cambridge, MA

    1814-40 Raphael And Fornarina
    oil on canvas
    Columbus Museum of Art, Ohio

    1814c Study for "Raphael and the Fornarina"
    graphite on white wove paper 25.4 x 19.7 cm
    Metropolitan Museum of Art, New York City

    1814c Study for "Raphael and the Fornarina"
    graphite on white wove paper 37 x 26.2 cm
    Fogg Museum, Harvard Art Museums, Cambridge, MA


    1814 The Architect Guillaume Edouard Allais
    chalk 21.1 x 16 cm
    Private Collection

    1814-16 Sheet of Studies with the Head of the Fornarina and Hands of Madame de Senonnes
    graphite with stumping on tan wove paper 18.9 x 21 cm
    Art Institute of Chicago, IL

    1814c Don Pedro of Toledo Kissing the Sword of Henri IV
    oil on panel 49 x 41 cm
    Private Collection

    1814c Madeleine Ingres, nee Chapelle
    oil on canvas 68 x 54 cm
    Sammlung E.G.Bührle, Zurich, Switzerland

    1815 Alexandre Lethiere Family

    1815 Frau Reinhold and Her Daughters, Susette-Marie and Marie-Auguste-Friederike
    graphite 303 x 22.5 cm
    The Morgan Library and Museum, New York City

    1815 Frederic Sylvester Douglas
    lithograph
    National Gallery of Art, Washington, DC

    1815 Guillaume Guillon Lethière ( 1760-1832 )
    graphite on wove paper 28 x 23.1 cm
    The Morgan Library and Museum, New York City

    1815 Jean Pierre Cortot
    33 x 41.5 cm

    1815 Jean-Joseph Fournier
    graphite on wove paper 24.2 x 16.2 cm
    Metropolitan Museum of Art, New York

    1815 John Russel, Sixth Duke of Bedford

    1815 Joseph-Antoine de Nogent
    oil on panel 47 x 33.3 cm
    Fogg Art Galler, Harvard Art Museums, Cambridge MA

    1815 Madame Alexandre Lethière, née Rosa Meli, and Her Daughter, Letizia
    graphite on tracing paper 23.1 x 20.2 cm
    Metropolitan Museum of Art, New York

    1815 Madame Charles Hayard and Her Daughter Caroline
    graphite on white wove paper 29.2 x 22 cm
    Fogg Art Gallery, Harvard Art Museums, Cambridge MA

    1815 Mademoiselle Jeanne Hayard

    1815 Maréchale Kutusov
    graphite on paper 13.2 x 8.7 cm
    The Fitzwilliam Museum, Cambridge, UK

    1815 Portrait of a Russian General
    watercolour 29.6 x 22 cm
    The State Hermitage Museum, St. Petersburg, Russia

    1815 Portrait of the Family of Lucien Bonaparte
    graphite on white wove paper 41.2 x 53.2 cm
    Fogg Art Gallery, Harvard Art Museums, Cambridge MA

    1815 The Duke of Alba Receiving the Pope's Blessing in the Cathedral of Sainte-Gudule, Brussels
    pen and brown ink and brown wash heightened with white gouache, with red and black chalk and graphite 43 x 52.9 cm
    J. Paul Getty Museum, Los Angeles

    1815 The Hon. Frederick North
    graphite 47 x 41 cm
    Art Gallery of New South Wales, Sydney, Australia

    1815-17c Portrait of a Lady
    graphite on wove paper 27.6 x 19.9 cm
    Museum of Modern Art, New York

    1815c Portrait of a Young Woman
    graphite 28 x 20.7 cm
    The State Hermitage Museum, St. Petersburg, Russia

    1816 Alexander Baillie
    graphite on paper
    Private Collection

    1816 Gabriel Cortois de Pressigny
    etching
    National Gallery of Art, Washington, DC

    1816 Lady Glenbervie, née Catherine Anne North
    graphite on wove paper 21 x 16.5 cm
    The Morgan Library and Museum, New York

    1816 Lady Mary Cavendish-Bentinck
    graphite 21.9 x 17.1 cm
    Metropolitan Museum of Art, New York

    1816 Lord Graham
    graphite 40.5 x 28.3 cm
    J. Paul Getty Museum, Los Angeles, CA

    1816 Mademoiselle Henriette Ursule Claire, Maybe Thevenin, and Her Dog Trim

    1816 Mr and Mrs Joseph Woodhead and Mr Henry Comber in Rome
    graphite on paper 30.4 x 22.4 cm
    The Fitzwilliam Museum, Cambridge, UK

    1816 Mrs Charles Badham
    graphite on wove paper 26.3 x 21.8 cm
    National Gallery of Art, Washington, DC

    1816 Mrs John Mackie
    graphite on paper 17 x 16.5 cm
    © Victoria & Albert Museum, London

    1816 Mrs. George Vesey and Her Daughter Elizabeth Vesey, later Lady Colthurst
    graphite and white gouache on white wove paper 29.9 x 22.4 cm
    Fogg Art Gallery, Harvard Art Museums, Cambridge MA

    1816 Sylvester Douglas, Lord Glenbervie
    graphite on wove paper 21 x 16.4 cm
    The Morgan Library and Museum, New York City

    1816 The Tomb of Lady Jane Montagu
    pen and brown ink and watercolour over graphite 44.5 x 55.8 cm
    National Gallery of Victoria, Melbourne, Australia


    0 0

    1822 Self-Portrait
    graphite on wove paper 20.2 x 16.1 cm
    National Gallery of Art, Washington, DC

    Jean-Auguste-Dominique Ingres (1780 – 1867) was a French Neoclassical artist. Although he considered himself to be a painter of history in the tradition of Nicolas Poussin and Jacques-Louis David, by the end of his life it was Ingres's portraits, both painted and drawn, that were recognised as his greatest legacy.

    For a full biography see part 1. For earlier works see parts 1 - 3 also.

    This is part 4 of a 8 – part series on the works of Jean-Auguste-Dominique Ingres:



    1816 Thomas Church
    graphite on paper 20.2 x 15.9 cm
    Los Angeles County Museum of Art, CA

    1816-17c Mrs. Edward Dodwel
    graphite on wove paper 20.9 x 15.8 cm
    National Gallery of Art, Washington, DC

    1817 Admiral Sir Fleetwood Broughton Reynolds Pellew
    graphite on wove paper 30 x 22 cm
    Metropolitan Museum of Art, New York City

    1817 Augustin Jordan and his Daughter Adrienne
    graphite on white wove paper 43 x 32.3 cm
    Fogg Art Gallery, Harvard Art Museums, Cambridge MA

    1817 before Henry IV, the Dauphin and the Spanish Ambassador
    oil on canvas
    © Victoria & Albert Museum, London

    1817 Charles Robert Cockerell ( English Architect 1788-1863 London )

    1817 Charles-Désiré Norry ( 1796-1818 )
    graphite on wove paper 19.8 x 14.8 cm
    The Morgan Library and Museum, New York City

    1817 French painter Charles Thévenin ( 1764-1838 )

    1817 Henri IV Playing with His Children
    oil on canvas 39 x 49 cm
    Musée du Petit Palais, Paris

    1817 Lady William Henry Cavendish Bentinck, born Lady Mary Acheson

    1817 Mme. Augustin Jordan and Her Son Gabriel
    graphite on white wove paper 44.3 32.6 cm
    Fogg Art Gallery, Harvard Art Museums, Cambridge MA

    1817 Otto Magnus Von Stackelberg and ( Jackob Linckh? )

    1817 Saint Helena Holding the Cross
    graphite, brown ink and coloured washes on white wove paper
    Fogg Art Gallery, Harvard Art Museums, Cambridge MA

    1818 Charles Lethiere

    1818 General Louis-Etienne Dulong De Rosnay
    graphite on wove paper 45.1 x 34.3 cm
    Metropolitan Museum of Art, New York City

    1818 Jean Pierre Cortot

    1818 Portrait of Madame Louis Nicolas Marie Destouches, born Armande Edmee Charton

    1818 The Death of Leonardi da Vinci
    oil on canvas 40 x 50.5 cm
    Musée du Petit Palais, Paris

    1818 The Kaunitz Sisters ( Leopoldine, Caroline, and Ferdinandine )
    graphite on laid paper 30.2 x 22.2 cm
    Metropolitan Museum of Art, New York City

    1818-31 Nicolo Paganini ( 1784–1840 )
    graphite and white chalk on tracing paper 24 x 18.5 cm
    Metropolitan Museum of Art, New York City

    1819 Andre Benoit Barreau, called Taurel
    graphite on paper
    Private Collection


    1819 Paolo and Francesca
    oil on canvas  50 x 41 cm
    Musée des Beaux-Arts d'Angers, Franc
    e

    n.d. Paolo and Francesca
    35 x 28 cm
    Musée Condé, Chatilly, France


    1819c Study for Paolo and Francesca
    graphite on paper 12.8 x 17 cm
    Private Collection


    1818-19 Roger Delivering Angelique



    Ingres received the commission for this painting in 1817 while living in Rome, finishing the work in 1819.  Shortly after its completion it was exhibited in Paris at the Salon of the same year, alongside his “Grande Odalisque” before being purchased by the Comte de Blacas, the French ambassador to the Vatican, on behalf of Louis XVIII.  It was installed above a doorway in the throne room of Versailles from 1820 until 1823 before being relocated to the Musée du Luxembourg, making history in the process by becoming Ingres' first painting to enter a public collection.  Now in the Musée du Louvre, the painting remains one of the most instantly recognisable images in the museum's entire collection.


    1818 Roger Delivering Angelique
    graphite on white wove paper 17.1 x 19.7 cm
    Fogg Art Gallery, Harvard Art Museums, Cambridge MA

    1818 Study for Roger Delivering Angelique
    oil on canvas 47 x 37.2 cm
    Fogg Art Gallery, Harvard Art Museums, Cambridge MA

    1819 Roger Delivering Angelique
    oil on canvas 147 x 190 cm
    Musée du Louvre, Paris

    1819-39 Roger Delivering Angelique
    oil on canvas 47.6 x 39.4 cm
    The National Gallery, London

    1819c Study for Roger Delivering Angelique
    oil on canvas 85 x 43 cm Musée du Louvre, Paris

    1819c Study for Roger Delivering Angelique
    graphite on tracing paper mounted on paper 39.3 x 26.2 cm

    1857 James McNeill Whistler:

    1857 Ingres, Roger Delivering Angelique by James McNeill Whistler
    oil on canvas 53 x 81.8 cm
    Hunterian Art Gallery, Glasgow University, UK


    1819 The Violinist Niccolò Paganini
    graphite 29.8 x 21.8 cm
    Musée du Louvre, Paris


    1820 Christ Delivering the Keys ( of Paradise ) to Saint Peter
    oil on canvas 280 x 217 cm
    Musée Ingres, Montauban, France

    1820c Head of Saint John the Evangelist
    oil on canvas laid on wood 39.4 x 27 cm
    Metropolitan Museum of Art, New York City


    1820 Don Pedro of Toledo Kissing the Sword of Henri IV
    oil on wood panel 48.5 x 40.5 cm

    n.d. Don Pedro of Toledo Kissing the Sword of Henri IV
    Château de Pau, France


    1820 Lorenzo Bartolini
    oil on canvas 108 x 86 cm
    Musée du Louvre, Paris

    1820 Ursin-Jules Vatinelle ( 1798-1881 )
    graphite on paper 18.3 x 14 cm
    Metropolitan Museum of Art, New York City

    1820-56 The Spring
    oil on canvas 163 x 80 cm
    Musée d'Orsay, Paris

    1821 Count Nikolay Guryev
    oil on canvas 107 x 86 cm
    The State Hermitage Museum, St. Petersburg, Russia

    1821 Mademoiselle Jeanne-Suzanne-Catherine Gonin
    oil on canvas
    Taft Museum of Art, Cincinnati, Ohio

    1821 The Condottiere
    oil on canvas 53.3 x 43 cm
    Private Collection

    1821 The Entry into Paris of the Dauphin, Future Charles V
    oil on cardboard 47 x 55.9 cm
    Wadsworth Athenaeum, Hartford, CT

    1822 Cosimo Andrea Lazzerini Family

    1822 Reclining Venus
    oil on canvas 116 x 168 cm
    The Walters Art Museum, Baltimore, MD



    0 0

    Jean-Auguste-Dominique Ingres (1780 – 1867) was a French Neoclassical artist. Although he considered himself to be a painter of history in the tradition of Nicolas Poussin and Jacques-Louis David, by the end of his life it was Ingres's portraits, both painted and drawn, that were recognised as his greatest legacy.

    For a full biography see part 1. For earlier works see parts 1 - 4 also.

    This is part 5 of a 8 – part series on the works of Jean-Auguste-Dominique Ingres:



    1823 Count Rodolphe Apponyi
    graphite and white chalk on off-white wove paper 45.3 x 34.6 cm
    Fogg Art Gallery, Harvard Art Museums, Cambridge MA

    1823 Countess Antoine Apponyi
    graphite and white chalk on off-white wove paper 45 x 34.9 cm
    Fogg Art Gallery, Harvard Art Museums, Cambridge MA

    1823 Jacques-Louis Leblanc ( 1774–1846 )
    oil on canvas 121 x 95.6 cm
    Metropolitan Museum of Art, New York City

    1823 Jacques-Louis Leblanc

    1823 Madame Jacques-Louis Leblanc ( Françoise Poncelle, 1788–1839 )
    oil on canvas 119.4 x 92.7 cm
    Metropolitan Museum of Art, New York

    1823-26 Amédée-David, the Comte de Pastoret
    oil on canvas 103 x 83.5 cm
    Art Institute of Chicago, IL


    1821 Drapery Study for the Madonna in "The Vow of Louis XIII"
    graphite and black chalk over stylus lines on cream wove paper 39 x 19.4 cm
    Fogg Art Museum, Harvard Art Museums, Cambridge, MA

    1824 The Vow of Louis XIII
    oil on canvas 421 x 262 cm
    Cathédrale Notre-Dame de Montauban, France

    1825 Adolphe-Marcellin Defresne
    graphite on paper 42.8 x 29.2 cm
    The Morgan Library and Museum, New York City

    1825 Les Quatres magistrats de Besancon
    lithograph 19.7 x 20 cm
    de Young / Legion of Honor Fine Arts Museums of San Francisco, CA

    1825 Odalisque
    lithograph
    National Gallery of Art, Washington, DC

    1825-50 Venus Anadyomène
    oil on canvas 31.5 x 20 cm
    Musée du Louvre, Paris

    1825c Pierre Alexandre Tardieu
    graphite on cream wove paper 24.2 x 18.6 cm
    Art Institute of Chicago, IL

    1826 Dr. Louis Martinet
    graphite on wove paper
    National Gallery of Art, Washington, DC

    1826 Madame Marie Marcotte ( Marcotte de Sainte-Marie )
    oil on cardboard 93 x 74 cm
    Musée du Louvre, Paris

    1826 Mme Adolphe-Marcellin Defresne, née Sophie Leroy
    graphite on paper 43.6 x 30.5 cm
    The Morgan Library and Museum, New York City


    1827 The Apotheosis of Homer
    oil on canvas 386 x 515 cm
    Musée du Louvre, Paris

    1827 Head of Boileau. Study for The Apotheosis of Homer
    21 x 26.5 cm
    Musée Ingres, Montauban, France

    1827c Study for the figure of Phidias in The Apotheosis of Homer
    graphite and bodycolour on buff paper 39.8 x 21.3 cm
    The Fitzwilliam Museum, Cambridge, UK

    1827 Study for Phidias in The Apotheosis of Homer
    oil on canvas laid down on panel 32.4 x 35.6 cm
    The San Diego Museum of Art, CA

    1827c Studies for The Apotheosis of Homer

    1827c Studies of Drapery for the figure of Virgil in The Apotheosis of Homer
     graphite, black and white chalk on tan wove paper 39.3 x 27.3 cm
    Fogg Museums, Harvard Art Museums, Cambridge, MA

    1827c Study for the Apotheosis of Homer

    1827c Study for the Apotheosis of Homer

    1827c Study for the Apotheosis of Homer

    1827c Study for the Figure of the Iliad in The Apotheosis of Homer
     graphite and black chalk heightened with white chalk on brown paper 

    31.4 x 27 cm
    Metropolitan Museum of Art, New York

    1827c Study for the Drapery of Molière in The Apotheosis of Homer
     black chalk with stumping 30.3 x 24.9 cm
    Metropolitan Museum of Art, New York City

    1827 Charles X Distributing Awards at the Salon of 1824
    oil on cardboard 173 x 256 cm
    Musée du Louvre, Paris

    1827 The Martyrdom of St Symphorian ( study )
    oil on canvas 35 x 30 cm
    Private Collection

    1827 The Virgin of the Blue Veil
    oil on canvas 77 x 65 cm
    São Paulo, Brazil

    1827 Ulysess
    oil on canvas mounted on wood  25.1 x 19.2 cm
    National Gallery of Art, Washington, DC

    1828 Mme. Balze
    graphite on tracing paper 28 x 21.2 cm
    Fogg Art Gallery, Harvard Art Museums, Cambridge MA

    1828c Charles X in his Coronation Robes
    watercolour over graphite on ivory laid paper 26.1 x 19.9 cm
    Art Institute of Chicago, IL

    1828c The Forestier Family
    graphite and white chalk on tracing paper 30 x 37.2 cm
    Fogg Art Gallery, Harvard Art Museums, Cambridge MA

    1829 Luigi Calamatta

    1829 Madame Louis-Francois Godinot
    graphite 21.9 x 16.5 cm
    Private Collection

    1829 Pierre Marie François De Sales Baillot

    1829-30 Charles X inn his Coronation Robes
    oil on canvas 129 x 90 cm
    Musée Bonnat, Bayonne, France

    1830-62 Hope and Charity ( after Raphael )
    graphite and grey wash on paper 35.2 x 3.2 cm
    The Wallace Collection, London

    1830-67c Pindar and Ictinus
    oil on canvas mounted on panel 34.9 x 27.9 cm
    The National Gallery, London

    1832 Louis-François Bertin
    oil on canvas 116 x 96 cm
    Musée du Louvre, Paris

    1832c Study for the Portrait of Louis-François Bertin
    graphite and black chalk 34.9 x 34.5 cm
    Metropolitan Museum of Art, New York


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    1835 Self-Portrait
    crayon on paper
    Musée du Louvre, Paris

    Jean-Auguste-Dominique Ingres (1780 – 1867) was a French Neoclassical artist. Although he considered himself to be a painter of history in the tradition of Nicolas Poussin and Jacques-Louis David, by the end of his life it was Ingres's portraits, both painted and drawn, that were recognised as his greatest legacy.

    For a full biography see part 1. For earlier works see parts 1 - 5 also.

    This is part 6 of a 8 – part series on the works of Jean-Auguste-Dominique Ingres:



    1831-34c Madame Edmond Cavé ( Marie-Élisabeth Blavot, born 1810 )
    oil on canvas 40.6 x 32.7 cm
    Metropolitan Museum of Art, New York

    1832-34 The Dream of Ossian
    graphite, watercolour, white gouache and brown ink on white wove paper 24.7 x 18.7 cm
    Fogg Art Gallery, Harvard Art Museums, Cambridge MA

    1834 Blessing Christ
    oil on canvas 80 x 66 cm

    1834 Etienne ( ? ) Gonin
    graphite and white chalk on white wove paper 24.2 x 18.6 cm
    Fogg Art Gallery, Harvard Art Museums, Cambridge MA

    1834 Madame Louis-Francois Bertin
    graphite on paper 23.5 x 30.5 cm

    1834 Madame Thiers
    graphite 31.9 x 23.9 cm
    Allen Memorial Art Museum, Oberlin, Ohio

    1834 The Lawyer Paul Grand
    graphite on wove paper 34.3 x 26 cm
    Metropolitan Museum of Art, New York City


    1834 The Martyrdom of Saint Symphorian
    oil on canvas
    Autun Cathedral, France


    The Martyrdom of Saint Symphorian

    Ingres here depicts Saint Symphorien, a Roman Christian of the second or third century, being led to his execution for his contempt of a pagan image. Symphorien's mother shouts encouragement to him from the city wall. In the fifth century, a church in honour of Symphorien was built at Autun, France, the scene of his martyrdom. In 1834, Ingres completed a monumental altarpiece of the subject for the cathedral at Autun, and some thirty years later he painted this small-scale replica:


    1865 The Martyrdom of Saint Symphorien
    oil on canvas 36.7 x 31.6 cm
    Philadelphia Museum of Art, PA

    1858 The Martyrdom of St. Symphorien
    graphite, grey wash and white gouache on white laid paper 47.9 x 40.5 cm
    Fogg Art Gallery, Harvard Art Museums, Cambridge MA

    1824-33 Studies for "The Martyrdom of Saint Symphorien"
    oil over graphite and red chalk on canvas laid on wood panel 60 x 47.6 cm
    Fogg Art Gallery, Harvard Art Museums, Cambridge MA

    1824-33 Studies for "The Martyrdom of Saint Symphorien"
    oil over graphite on canvas 60.3 x 49.5 cm
    Fogg Art Gallery, Harvard Art Museums, Cambridge MA

    1824-34 Study For The Martyrdom of St. Symphorien
    oil on canvas

    1827-34c Studies of Legs, Hands, and the Profile of a Head for the Martyrdom of St. Symphorien
    black chalk and graphite on paper 45.8 x 30.5 cm
    The Morgan Library and Museum, New York City

    1826-34 Study for "The Martyrdom of St. Symphorien" ( The Stone Thrower )
    graphite and black and red chalk on off-white wove paper
    Fogg Art Gallery, Harvard Art Museums, Cambridge MA

    1835 Mademoiselle Louise Vernet 

    1836 Alexis Rene Le Go
    graphite on paper Private Collection

    1836 Madame Baltard And Her Daughter, Paule
    graphite on paper

    1836 The Architect Charles-Victor Famin
    graphite on wove paper 22.3 x 17.7 cm
    Metropolitan Museum of Art, New York City

    1837 Victor Baltard
    graphite on brown paper 32.8 x 25.1 cm

    1839 Odalisque with Female Slave
    oil on canvas 72.4 x 100.3 cm
    Fogg Art Gallery, Harvard Art Museums, Cambridge MA

    1839 Odalisque with Slave
    graphite, black and white chalk. white gouache. grey and brown wash on cream wove paper 33.5 x 46.2 cm
    The Morgan Library and Museum, New York

    1858 Odalisque with Slave
    graphite, pen, sepia ink, brown wash, heightened with white on tracing paper 34.5 x 47.5 cm
    Musée du Louvre, Paris

    1840 Antiochus And Stratonice
    oil on canvas
    Musée Condé, Chantilly, France

    1834-40 Study for the Figure of Stratonice
    graphite, black chalk and rubbed charcoal 49.4 c 32 cm
    Metropolitan Museum of Art, New York City

    1840 Madame Hippolyte Flandrin, Born Aimée Caroline Ancelot

    1840c The Virgin with the Sleeping Infant Jesus ( study )
    oil on canvas 119.4 x 86.3 cm
    Private Collection

    1841 Antoine Thomeguex
    graphite on paper
    Private Collection

    1841 Charles Gounod
    graphite on ivory wove paper 29.9 x 23.3 cm
    Art Institute of Chicago, IL

    1841 Luigi Cherubini
    oil on canvas 81.3 x 71.1 cm
    Cincinatti Art Museum, Ohio

    1841 Madame Jean Auguste Dominique Ingres, née Madeleine Chapelle
    Private Collection

    1842 Armand Bertin
    graphite on wove paper 31.2 x 22.8 cm
    Metropolitan Museum of Art, New York

    1843 Madame Armand Bertin, née Marie-Anne-Cécile Dollfuss
    graphite on wove paper 34.2 x 26 cm
    Metropolitan Museum of Art, New York

    1842 Duke Ferdinand-Philippe of Orleans, as St. Ferdinand of Castile
    oil over chalk on canvas 210 x 92 cm
    Musée du Louvre, Paris

    1842 Ferdinand-Philippe Louis-Charles-Henri de Bourbon-Orléans, Duke of Orléans
    oil on canvas 158 x 122 cm
    Musée du Louvre, Paris

    1844 Duke Ferdinand-Philippe of Orleans
    oil on canvas 218 x 131 cm
    Château de Versailles, France

    1842 The Duc d'Orleans
    oil on canvas 54.3 x 45.1 cm
    Dublin City Art Gallery, Ireland

    1842 Luigi Cherubini and the Muse of Lyric Poetry
    oil on canvas 105 x 94 cm
    Musée du Louvre, Paris

    1842 Odalisque with Slave
    oil on canvas 76 x 105 cm
    Walters Art Gallery, Baltimore, MD

    1842c The Archangel Raphael
    ( Study for a stained-glass window in the chapel of Notre-Dame de la Compassion-Saint-Ferdinand, Neuilly )
    graphite 38.5 x 14.9 cm
    Metropolitan Museum of Art, New York

    1843 Moliere
    lithograph 26 x 20 cm
    de Young / Legion of Honour Fine Arts Museums of San Francisco, CA

    1844 Edmond Cavé ( 1794–1852 )
    oil on canvas 40.6 x 32.7 cm
    Metropolitan Museum of Art, New York

    1845 Madame Othenin d'Haussonville
    oil on canvas 131.8 x 92 cm
    Frick Collection, New York City

    1842-45 Study for the Portrait of Madame Othenin d'Haussonville
    black chalk on white wove paper 35.9 x 20.4 cm
    Fogg Art Gallery, Harvard Art Museums, Cambridge MA

    1842-45 Study for the Portrait of Madame Othenin d'Haussonville
    graphite on white wove paper 23.4 x 19.6 cm
    Fogg Art Gallery, Harvard Art Museums, Cambridge MA


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    1858 Self-Portrait
    oil on canvas 62 x 51 cm
    Galleria Degli Uffizi, Florence


    Jean-Auguste-Dominique Ingres (1780 – 1867) was a French Neoclassical artist. Although he considered himself to be a painter of history in the tradition of Nicolas Poussin and Jacques-Louis David, by the end of his life it was Ingres's portraits, both painted and drawn, that were recognised as his greatest legacy.

    For a full biography see part 1. For earlier works see parts 1 - 6 also.

    This is part 7 of a 8 – part series on the works of Jean-Auguste-Dominique Ingres:



    1844c Joan of Arc Standing at the Altar at Reims Cathedral
    pen and brown ink and graphite on tracing paper mounted on blue paper 30.1 x 39.3 cm
    National Gallery of Art, Washington, DC

    1845-50c Madame Paul Meurice, née Palmyre Granger
    graphite on wove paper 55.9 x 44.8 cm
    Metropolitan Museum of Art, New York

    1846 Augustine-Modeste-Hortense Reiset
    oil on canvas 62.2 x 49.5 cm
    Fogg Art Gallery, Harvard Art Museums, Cambridge MA

    1848 Aretino in the Studio of Tintoretto
    oil on canvas 43.5 x 35.9 cm
    Metropolitan Museum of Art, New York

    1848 Baroness James de Rothschild
    oil on canvas 141.9 x 101 cm
    Private Collection


    1844 Madame Frederic Reiset, born Augustine Modeste Hortense Reiset, and Her Daughter Therese Hortense Marie

    1848 Nomination of a Prefect of Rome in the Sistine Chapel
    81 x 98 cm
    Musée Ingres, Montauban, France

    1848 Nomination of a Prefect of Rome in the Sistine Chapel
    graphite and watercolour 18 x 25 cm
    Musée Ingres, Montauban, France

    1849 Countess Charles D'Agoult And Her Daughter Claire D'Agoult
    graphite and chalk on paper 39.3 x 47 cm
    Private Collection

    1849 Dr. François Mêlier
    graphite and white bodycolour on buff wove paper 32.2 x 25 cm
    Metropolitan Museum of Art, New York City

    1849 Franz Adolf Von Stuerler
    graphite

    1850 Henri Lehmann
    graphite on wove paper 31.7 x 23.8 cm
    Metropolitan Museum of Art, New York

    1850c Odysseus. Study for The Triumph of Homer
    oil on canvas
    Musée des Beaux-Arts, Lyon, France


    1851 Madame Moitessier
    oil on canvas 147 x 100 cm
    National Gallery of Art, Washington, DC


    1851 Madame Moitessier
    graphite and white chalk 45.7 x 33.7 cm
    J. Paul Getty Museum, Los Angeles, CA

    1851 Study for the Dress and the Hands of Madame Moitessier
    graphite on tracing paper 35.4 x 16.8 cm
    J. Paul Getty Museum, Los Angeles

    1851c Sketch for Madame Moitessier
    graphite on wove paper 20.7 x 15.5 cm
    National Gallery of Art, Washington, DC


    1851-53 Joséphine-Éléonore-Marie-Pauline de Galard de Brassac de Béarn ( 1825–1860 ), Princesse de Broglie
    oil on canvas 121.3 x 90.8 cm
    Metropolitan Museum of Art, New York City

    1851c Jupiter and Antiope
    oil on canvas 32.5 x 43.5 cm
    Musée d'Orsay, Paris

    1852 M. Marcotte Genlis
    graphite heightened with white chalk on light brown paper 35.5 x 28.5 cm
    The Morgan Library and Museum, New York City

    1852 Madame Félix Gallois
    graphite with touches of gold in oil on buff wove paper 34.6 x 26.8 cm
    Metropolitan Museum of Art, New York

    1852 Madame Henri Gonse, née Josephine Caroline Maille ( 1845-1852 )

    1852 Pierre François Henri Labrouste
    graphite on wove paper 31 x 23.5 cm
    National Gallery of Art, Washington, DC

    1852 The Virgin Adoring the Host
    oil on canvas 40.3 x 32.7 cm
    Metropolitan Museum of Art, New York City

    1854 Madonna and Host
    oil on canvas 113 x 113 cm
    Musée d'Orsay, Paris


    1852c Venus in Paphos
    Musée d'Orsay, Paris

    1852c Venus in Paphos ( study )
    graphite on paper 20.3 x 31.6 cm

    1853 The Apotheosis of Napoleon I
    oil on canvas 49 x 49 cm
    Musée Carnavalet, Paris

    1853 Study for the Figure of France in "The Apotheosis of Napoleon I"
    graphite and black chalk on tan wove paper 52.5 x 27.4 cm
    Fogg Art Gallery, Harvard Art Museums, Cambridge MA

    1854 Joan of Arc at the Coronation of Charles VII
    oil on canvas 240 x 178 cm
    Musée du Louvre, Paris

    1855 Hippolyte Flandrin

    1855 The Virgin and Child Appearing to Saints Anthony of Padua and Leopold of Carinthia
    graphite, brown ink, watercolour and white gouache on tracing paper 26.4 x 18.7 cm
    Fogg Art Gallery, Harvard Art Museums, Cambridge MA

    1855c Head of a Young Woman
    oil over graphite on tracing paper 35.3 x 26.6 cm
    Fogg Art Gallery, Harvard Art Museums, Cambridge MA

    1856 Alfred-Emilien O'Hara, Comte de Nieuwerkerke
    graphite and white chalk, with stumping, on cream wove paper 33 x 24.3 cm
    Fogg Art Gallery, Harvard Art Museums, Cambridge MA

    1856 Birth of the Muses
    watercolour on paper laid down on copper 25.7 x 53.2 cm
    Musée du Louvre, Paris

    1856 Etienne-Jean Delécluze
    graphite and white chalk on cream wove paper 33.2 x 25.1 cm
    Fogg Art Gallery, Harvard Art Museums, Cambridge MA

    1856 Madame Paul-Sigisbert Moitessier
    oil on canvas 120 x 92.1 cm
    The National Gallery, London


    1847c ? ( 1856c? ) Study for the Portrait of Mme Moitessier
    black chalk over graphite on white wove paper 18.7 x 20 cm
    Fogg Museum, Harvard Art Museums, Cambridge, MA

    1856c Study for the right hand of Madame Moitessier
    graphite on aper 86 x 108 cm
    The Fitzwilliam Museum, Cambridge, UK


    1856 Mme. Cecile-Marie Tournouer nee Panckoucke
    graphite on cream wove paper 31.3 x 22.9 cm
    Detroit Institute of Arts, MI

    1856c La Source
    oil on canvas 163 x 80 cm
    Musée d'Orsay, Paris


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    1859 Self-Portrait
    oil on canvas
    Fogg Museum, Harvard Art Museums, Cambridge, MA
    ( An almost identical self-portrait to 1858 self-portrait featured in part 7 )
    Jean-Auguste-Dominique Ingres (1780 – 1867) was a French Neoclassical artist. Although he considered himself to be a painter of history in the tradition of Nicolas Poussin and Jacques-Louis David, by the end of his life it was Ingres's portraits, both painted and drawn, that were recognised as his greatest legacy.

    For a full biography see part 1. For earlier works see parts 1 - 7 also.

    This is part 8 of a 8 – part series on the works of Jean-Auguste-Dominique Ingres:



    1857 Madame Charles Simart, née Amelie Baltard
    graphite

    1857 Mademoiselle Mary de Borderieux ( ? )
    graphite and watercolour with white highlights 35.2 x 27.1 cm
    National Gallery of Art, Washington, DC

    1857 Molière Dining with Louis XIV
    oil on canvas 59.5 x 69 cm
    Comédie-Français, Palais-Royal, Paris

    1858 Virgin of the Adoption
    oil on canvas 69.5 x 56.8 cm
    National Gallery of Victoria, Melbourne, Australia


    1855 Mme Delphine Ingres
    graphite on white wove paper 35 x 27.2 cm
    Fogg Art Gallery, Harvard Art Museums, Cambridge MA

    1859 Delphine Ramel, Madame Ingres ( the artist's wife )
    oil on canvas 50 x 63 cm
    Oskar Reinhart Foundation, Winterthur, Switzerland


    1859 Delphine Ramel, Madame Ingres ( the artist's wife ) detail


    1859 Madame Charles Gounod
    graphite on ivory wove paper 25.6 x 20.2 cm
    Art Institute of Chicago, IL

    1861 Madame Franz Adolf von Stuerler, née Matilda Jarman
    graphite 

    1862 Jesus Among the Doctors
    oil on canvas 265 x 320 cm
    Musée Ingres, Montauban, France


    1862 The Golden Age
    oil on paper laid down on panel 46.4 x 61.9 cm
    Fogg Art Gallery, Harvard Art Museums, Cambridge MA

    1843-48 Studies of a Man and a Woman for "The Golden Age"
    graphite on cream wove paper 41.6 x 31.5 cm
    Fogg Art Gallery, Harvard Art Museums, Cambridge MA

    1862 Study of Hands and Feet for "The Golden Age"
    graphite
    Fogg Museum, Harvard Art Museums, Cambridge, MA

    1862c Two Studies for "The Golden Age": Two Figures Listening to Astraea
    graphite
    Musée Ingres, Montauban, France

    n.d. Nude Figures for L'Âge d'Or, Château de Dampierre
    graphite on brownish paper 10.5 x 14.9 cm
    Metropolitan Museum of Art, New York City

    1862 The Turkish Bath
    oil on canvas 108 cm diameter
    Musée du Louvre, Paris

    1864 Madame Jacques Ignace Hittorf as Juno
    oil on canvas
    Krannert Art Museum, University of Illinois

    1864 Mars
    oil on canvas 32.1 x 30.9 cm
    Kunstmuseum Basel, Switzerland

    1864 The Betrothal of Raphael and the Niece of Cardinal Bibbiena
    graphite, watercolour and white gouache on tracing paper 19.9 x 16 cm
    Fogg Art Gallery, Harvard Art Museums, Cambridge MA

    1864 Turkish Bath
    watercolour and graphite over brown printing ink on white wove paper 16.7 x 12.6 cm
    Fogg Art Gallery, Harvard Art Museums, Cambridge MA

    1865 Rape of Europa
    graphite, watercolour and gouache on tracing paper 30.1 x 42.5 cm
    Fogg Art Gallery, Harvard Art Museums, Cambridge MA

    1898c Madame Guillaume Guillon Lethière
    graphite on white wove paper 27 x 21.5 cm
    Fogg Art Gallery, Harvard Art Museums, Cambridge MA

    n.d. Jean-Louis Provost

    n.d Madame Jean Auguste Dominique Ingres
    graphite

    n.d. Angelica In Chains
    oil on canvas 75 x 97 cm
    Museo de Arte de Sao Paulo, Brazil

    n.d. Comtesse Turpin de Crissé
    graphite 28.6 x 21.5 cm
    Metropolitan Museum of Art, New York City

    n.d. Countess ( Comtesse ) de Marcellus
    graphite on parchment mounted on ragboard 40 x 32.5 cm
    de Young / Legion of Honour Fine Arts Museums of San Francisco, CA

    n.d. Dr. Jean Louis Robin
    graphite

    n.d. Dr. Louis Martinet
    graphite

    n.d. Edmond Ramel And His Wife, née Irma Donbernard
    graphite

    n.d. Franz Liszt

    n.d. Head of a Young Blond Girl with Blue Eyes ( Laure-Zoega )

    n.d. Head of Saint John the Evangelist
    oil on canvas laid down on wood 39.4 x 27 cm
    Metropolitan Museum of Art, New York

    n.d. Jean Charles Auguste Simon

    n.d. Jean François Antoine Forest
    graphite

    n.d. Lancelot-Théodore, comte Turpin de Crissé
    graphite 29.5 x 21.8 cm
    Metropolitan Museum of Art, New York

    n.d. Madame Charles Hayard, Born Jeanne Susanne
    graphite

    n.d. Madame Jean Auguste Dominique Ingres
    graphite

    n.d. Madame Jean Auguste Dominique Ingres
    graphite

    n.d. Monsignor Gabriel Cortois De Pressigny
    graphite

    n.d. Mrs Charles Thomas Thruston
    graphite

    n.d. Portrait of a Young Boy
    graphite with touches of red watercolour with green watercolour border 8.4 x 10.6 cm
    The Morgan Library and Museum, New York

    n.d. Seated Female Nude
    black lead and black chalk on three attached sheets of paper 22.8 x 33 cm
    The Morgan Library and Museum, New York

    n.d. Study for the Figure of Marie de' Medici
    black chalk heightened with warm white chalk and white chalk on brown paper ( with two added strips ) 35.4 x 23.6 cm
    The Morgan Library and Museum, New York

    n.d. Victor-Dourlen
    graphite

    n.d. Vincent Léon Pallière
    oil on canvas 40.7 x 32.3 cm
    Dublin City Gallery, Ireland


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    An increased flow of exotic plants from the Middle East, South Africa and the Americas appeared in England at the end of the eighteenth century, encouraging a love of plant collecting and botany among the upper classes, as well as tradesmen who competed and developed the ideal forms of “Florist” flowers. By the nineteenth century the enthusiasm for all things botanical was spreading to all levels of society. After 1840 the seed and nursery trade expanded exponentially along the railways, improved mail service, and annually published booklet catalogues.


    In America, many more seed and nursery companies came into being during the second half of the nineteenth century, especially after the Civil War. Mail-order became much more common due to improved transportation networks amd postal reforms that made it cheaper to ship plants and seeds, as well as catalogues. Mail-order companies increased the size and number of catalogues they produced.


    With the growth of towns and cities throughout the country, seed and nursery companies faced a huge potential market, but also increased competition. As a result, many catalogues tried to distinguish themselves from their competitors by promoting more novelties and giving vegetable and flower varieties names containing superlatives such as Mammoth, Giant, and Perfection. Catalogue covers became more elaborate.



    This is part 1 of a 3 - part post on Vintage Seed Catalogues:



    1882 The New Guide to Rose Culture
    The Dingee and Conard Company, West Grove, PA

    1883 Benson, Maule and Reliable Seeds
    Benson, Maule & Co., Philadelphia, PA

    1883 Landreths Rural Register Alamanac and Catalogue, Philadelphia, PA

    1884 Landreths' Companion for the Garden Farm, Philadelphia, PA

    1885 John Lewis Childs, Queens NY
    Illustrated Catalogue of New, Rare, and Beautiful Flowers
    front cover

    1885 John Lewis Childs, Queens NY
    Illustrated Catalogue of New, Rare, and Beautiful Flowers  
    back cover

    1887 Burpee's Farm Annual - Garden Farm & Flower Seeds
    W. Atlee Burpee & Co., Philadelphia, PA

    1888 I.V. Faust Garden - Field - and Flower Seeds
    I.V. Faust, Philadelphia, PA

    1888 Faust Garden or King of the Blacks Pansy
    I.V. Faust, Philadelphia, PA

    1888 Burpee's Farm Annual. Garden, Flower & Farm Seeds.
    W. Atlee Burpee & Co., Philadelphia, PA

    1888 Wm. Henry Maule, Philadelphia, PA

    1889 The New Guide to Rose Culture
    The Dingee & Conard Co. West Grove, Chester Co. PA

    1889 Rawson's Vegetable & Flower Seeds
    W.W. Rawson & Co., Boston, MA

    1889 Maule's Seed Catalogue
    Wm. Henry Maule, Philadelphia, PA

    1890 New, Rare & Beautiful Flowers
    John Lewis Childs, Floral Park, NY

    1890 Child's Superb New Gloxinias
    John Lewis Childs, Floral Park, NY

    1890s Seed & Plant Guide
    H.W. Buckbee, Rockford, IL

    1890s Floral Treasures
    The Good & Reese Co., Springfield, Ohio

    1891 Maule's Seed Catalogue for 1891
    Wm. Henry Maule, Philadelphia, PA

    1892 Northern Grown Tested Seeds
    Northrup, Braslan & Goodwin, Minneapolis, MN

    1892 Bulbs, Plants, Seeds.
    Peter Henderson & Co., New York

    1892 Wilson's 16 Annual Price List and Catalogue
    Samuel Wilson, Mechanicsville, Bucks County, PA

    1892 Sutton's Amateur's Guide in Horticulture for 1892
    Sutton & Sons, Reading, UK

    1892 Our New Guide to Rose Culture
    The Dingee and Conard Company, West Grove, PA

    1893 Seed Catalogue
    D.M. Ferry & Co., Detroit, MI

    1893 Illustrated Hand Book Rawson's Vegetable & Flower Seeds
    W.W. Rawson & Co., Boston, MA

    1893 The Perry Seed Store, Syracuse, NY
    front cover

    1893 The Perry Seed Store, Syracuse, NY
    back cover

    1893 The Storrs & Harrison Co., Painesville, Ohio

    1893 The Storrs & Harrison Co., Painesville, Ohio

    1893 Special Advertisement of Burpee's Seeds
    W. Atlee Burpee & Co., Philadelphia, PA

    1893 Pansies, Poppies and Sweet Peas
    W. Atlee Burpee & Co., Philadelphia, PA

    1893 Burpee's Catalogue of Flowering Bulbs, Plants & Seeds for Autumn Planting
    W. Atlee Burpee & Co., Philadelphia, PA

    1894 C.E. Allen Plant and Seed Guide
    C.E. Allen, Brattleboro, VT
    front cover

    1894 C.E. Allen Plant and Seed Guide
    C.E. Allen, Brattleboro, VT
    back cover

    1894 Cole's Garden Annual 1894 Garden, Farm and Flower Seeds
    Cole's, Pella, Ohio
    front cover

    1894 From Cole's Seed Store
    Cole's, Pella, Ohio
    back cover

    1894 F. Barteldes & Co., Lawrence, Kansas

    1894 Child's rare Flowers, Vegetables & Fruits for 1894
    John Lewis Childs, Floral Park, NY

    1894 Scott's Roses, Philadelphia, PA

    1894 The Huntington Seed Co., Indianapolis, IN
    front cover

    1894 The Huntington Seed Co., Indianapolis, IN
    back cover


    0 0

    For background information on the history of seed catalogues, and for earlier examples, see part 1 also.



    This is part 2 of a 3 - part post on Vintage Seed Catalogues:


    1894 Burpees Autumn Catalogue
    W. Atlee Burpee & Co., Philadelphia, PA
    front cover

    1894 Burpees Autumn Catalogue
    W. Atlee Burpee & Co., Philadelphia, PA
    back cover

    1895 Cole's Garden Annual
    garden, Farm and Flower Seeds
    Cole's, Pella, Iowa

    1895 Floral Treasures
    G. R. Gause & Co., Richmond, Indiana

    1895 Rose Collection
    Iowa Seed Co., Des Moines, Iowa

    1895 Autumn
    John A. Salzer Seed Co. La Crosse, Wisconsin

    1895 Wm. Elliott & Sons, New York, NY

    1896 Catalogue
    Cox Seed and Plant Co., San Francisco, CA
    front cover

    1896 Catalogue
    Cox Seed and Plant Co., San Francisco, CA
    back cover

    1896 Catalogue
    Everything for the Fruit Grower
    E. W. Reid's Nurseries, Bridgeport, Ohio

    1896 Catalogue of Flowers
    G. R. Gause & Co., Richmond, Indiana
     

    1896 Catalogue of Flowers
    G. R. Gause & Co., Richmond, Indiana

    1896 John Gardiner & Co., Philadelphia, PA
    front cover

    1896 John Gardiner & Co., Philadelphia, PA
    back cover
    1896 6 Bulbs for 50 Cents
    John Gardiner & Co., Philadelphia, PA
    1896 Special Bargain Edition McGregor Bros.
    Floral Gems for 1896
    McGregor Bros, Springfield, Ohio

    1896 The Geo. H. Mellen Co., Springfield, Ohio
    front cover

    1896 The Geo. H. Mellen Co., Springfield, Ohio
    back cover

    1896 The Lovett Co., Little Silver, NJ

    1897 Fall Catalogue
    Conard and Jones Co., West Grove, PA
    front cover

    1897 Fall Catalogue
    Conard and Jones Co., West Grove, PA
    back cover

    1897 Seed Annual
    D. M. Ferry & Co. Detroit, Michigan

    1897 The Dingee and Conard Co. Rose Growers
    Dingee & Conard Co., West Grove, PA
    front cover


    1897 Childs rare Flowers, Vegetables and Fruits
    John Lewis Childs, Floral Park, NY
    front cover

    1897 Childs rare Flowers, Vegetables and Fruits
    John Lewis Childs, Floral Park, NY
    back cover

    1897 McGregor Bros. Floral Gems
    McGregor Bros., Springfield, Ohio

    1897 Peter Henderson & Co. Manual of Everything for the GardenPeter Henderson & Co., New York

    1897 The Geo. H. Mellen Co., Springfield, Ohio

    1898 Alneer Brothers, Rockford, IL
    back cover

    1898 Plant and Seed Guide
    C.E. Allen, Brattleboro, VT
    front cover

    1898 Plant and Seed Guide
    C.E. Allen, Brattleboro, VT
    back cover

    1898 Cole's Seed Store, Pella, Iowa

    1898 New Floral Guide Spring
    Conard and Jones Co., West Grove, PA

    1898 New Floral Guide Autumn
    Conard and Jones Co., West Grove, PA

    1898 Bulbs and Seeds Autumn
    D. M. Ferry & Co. Detroit, Michigan

    1898 Our New Guide to Rose Culture
    Dingee & Conard Co., West Grove, PA

    1898 Catalogue of Flowers
    G. R. Gause & Co., Richmond, Indiana

    1898 Catalogue of Flowers
    G. R. Gause & Co., Richmond, Indiana

    1898 James Vick's Sons, Rochester, NY

    1898 Catalogue of Seeds
    John A. Bruce & Co., Hamilton, Ontario

    1898 Spring
    John A. Salzer & Co. La Crosse, Wisconsin
    front cover


    1898 Spring
    John A. Salzer & Co. La Crosse, Wisconsin
    back cover
    1897 The Dingee and Conard Co. Rose Growers
    Dingee & Conard Co., West Grove, PA
    back cover


    0 0

    For background information on the history of seed catalogues see part 1, and for earlier examples, see parts 1 and 2.



    This is part 3 of a 3 - part post on Vintage Seed Catalogues:



    1898 Rare Flowers, Vegetables & Fruits
    John Lewis Childs', Floral Park, NY

    1898 Fall Catalogue of Bulbs
    John Lewis Childs', Floral Park, NY

    1898 John Lewis Childs', Floral Park, NY

    1898 Maules Seed Catalogue, Philadelphia, PA

    1898 New Hybrid Wichuraiana Roses
    McGregor Bros., Springfield, Ohio

    1898 New Floral Guide Autumn
    The Conard & Jones Co. West Grove, PA

    1898 The Geo. H. Mellen Co., Springfield, Ohio

    1898 The Steele, Briggs Seed Co. Limited, Toronto

    1898 W.W. Barnard & Co., Chicago, IL

    1899 New Floral Guide Spring
    The Conard and Jones Co., West Grove, PA

    1899 Horticultural Guide Spring
    Currie Bros., Milwaukee, Wisconsin

    1899 Seed and Plant GUide
    H.W. Buckbee, Rockford, IL

    1899 Rare Flowers, Vegetables & Fruits
    John Lewis Childs, Floral Park, NY
    front cover

    1899 Rare Flowers, Vegetables & Fruits
    John Lewis Childs, Floral Park, NY
    back cover

    1899 Seed Catalogue
    Robert Evans & Co., Hamilton, Ontario

    1899 Flowers from Seed
    S. Y. Haines & Co., Minneapolis, Minn.

    1899 Livingstone's Early Golden Surprise
    The Livingston Seed Company, Columbus, Ohio

    1899 Vaughan's Seed Store, Chicago, IL

    1899 Vaughan's Seed Store, Chicago, IL

    1899 W.W. Rawson & Co., Boston, MA

    1901 Burpee's Seed - Sense
    W. Atlee Burpee & Co., Philadelphia, PA

    1902 New Tomato Success
    Rennie's, Toronto

    1906 Iowa Seed Co., Des Moines, Iowa 
    front cover

    1906 Iowa Seed Co., Des Moines, Iowa
    back cover

    1906 The Maule Seed Book
    Wm. Henry Maule, Philadelphia, PA

    1909 25th Anniversary 1884 - 1909
    W.W. Rawson & Co. Garden Manual, Boston, MA
    front cover

    1909 25th Anniversary 1884 - 1909
    W.W. Rawson & Co. Garden Manual, Boston, MA
    back cover

    1910 W. Atlee Burpee & Co., Philadelphia, PA

    1910s ( WW1 1914-18 ) Men, Women and Children Wanted to Plant Good Seeds
    Ratekin's Seed House, Shenandoah, Iowa

    1913 Seeds, Bulbs, Shrubs
    W.W. Barnard & Co., Chicago, IL

    1917 We Are The Pioneers
    Oscar H. Will & Co., Bismarck, North Dakota

    1932 Sow Salzer's Seeds
    John A. Salzer & Co. La Crosse, Wisconsin

    n.d. Climbing Rose

    n.d. Cole's Seed Store, Pella, Iowa

    n.d. Green's Mortgage Lifter Collection

    n.d. J. M. Thorburn & Company

    n.d. The New Sunset Collection of Roses

    n.d. Wm. Henry Maule Seed Catalogue, Philadelphia, PA
    back cover

    n.d. Wm. Henry Maule, Philadelphia, PA
    back cover


    0 0
  • 03/20/17--07:09: Edward Lear - part 1
  • This is an introduction to a major series (21 parts) on the works of Edward Lear.


    1840 Edward Lear by Wilhelm Nicolai Marstrand
    pencil 18.2 x 11 cm
    © National Portrait Gallery, London

    Edward Lear (1812 - 1888) was an English artist, illustrator, musician, author and poet, and is known now mostly for his literary nonsense in poetry and prose and especially his limericks, a form he popularised. His principal areas of work as an artist were threefold: as a draughtsman employed to illustrate birds and animals; making coloured drawings during his journeys, which he reworked later, sometimes as plates for his travel books; as an illustrator of Alfred Tennyson's poems. As an author, he is known principally for his popular nonsense collections of poems, songs, short stories, botanical drawings, recipes, and alphabets. He also composed and published twelve musical settings of Tennyson's poetry.

    Lear was born into a middle-class family in Holloway, North London, the penultimate of twenty-one children. He was raised by his eldest sister Ann, 21 years his senior. Owing to the family's limited finances, Lear and his sister were required to leave the family home and live together when he was aged four. Ann doted on Edward and continued to act as a mother for him until her death, when he was almost 50 years of age.


    Lear suffered from lifelong health afflictions – he suffered frequent grand mal epileptic seizures, and during later life, partial blindness. Lear experienced his first seizure at a fair near Highgate with his father. The event scared and embarrassed him. Lear felt lifelong guilt and shame for his epileptic condition. His adult diaries indicate that he always sensed the onset of a seizure in time to remove himself from public view. When Lear was about seven years old he began to show signs of depression, possibly due to the instability of his childhood. He suffered from periods of severe melancholia.


    Lear was already drawing "for bread and cheese" by the time he was aged 16 and soon developed into a serious "ornithological draughtsman" employed by the Zoological Society and then from 1832 to 1836 by the Earl of Derby, who kept a private menagerie at his estate, Knowsley Hall. Lear's first publication, published when he was 19 years old, was Illustrations of the Family of Psittacidae, or Parrots in 1830.One of the greatest ornithological artists of his era, he contributed to John Gould’s works and was compared favourably with the naturalist John James Audubon.


    “Illustrated Excursions in Italy” 1842-46

    Among other travels, he visited Greece and Egypt during 1848–49, and toured India and Ceylon during 1873–75. While travelling he produced large quantities of coloured wash drawings in a distinctive style, which he converted later in his studio into oil and watercolours, as well as prints for his books.His landscape style often shows views with strong sunlight, with intense contrasts of colour.

    Between 1878 and 1883 Lear spent his summers on Monte Generoso, a mountain on the border between the Swiss canton of Ticino and the Italian region of Lombardy. His oil painting The Plains of Lombardy from Monte Generoso is in the Ashmolean Museum, Oxford, UK.


    1880 The Plains of Lombardy from Monte Generoso
    oil on canvas 24 x 47 cm
    The Ashmolean Museum of Art and Archaeology, Oxford, UK

    Throughout his life he continued to paint seriously. He had a lifelong ambition to illustrate Tennyson’s poems; near the end of his life a volume with a small number of illustrations was published.

    In 1846 Lear published A Book of Nonsense,a volume of limericks that went to three editions and helped popularise the form and the genre of literary nonsense. In 1871 he published Nonsense Songs, Stories, Botany and Alphabets, which included his most famous nonsense song, The Owl and the Pussycat which he wrote for the children of his patron Edward Stanley, 13th Earl of Derby. Many other works followed.


    1846 A Book of Nonsense by Derry Down Derry
    2 parts in 2 volumes

    Lear's nonsense works are distinguished by a facility of verbal invention and a poet's delight in the sounds of words, both real and imaginary. A stuffed rhinoceros becomes a "diaphanous doorscraper." A "blue Boss-Woss" plunges into "a perpendicular, spicular, orbicular, quadrangular, circular depth of soft mud." His heroes are Quangle-Wangles, Pobbles, and Jumblies. One of his most famous verbal inventions, the phrase "runcible spoon," occurs in the closing lines of The Owl and the Pussycat and is now found in many English dictionaries.


    Lear played the accordion, flute, and guitar, but primarily the piano. He composed music for many Romantic and Victorian poems, but was known mostly for his many musical settings of Tennyson's poetry. He published four settings in 1853, five in 1859, and three in 1860. Lear's were the only musical settings that Tennyson approved of. Lear also composed music for many of his nonsense songs, including "The Owl and the Pussy-cat," but only two of the scores have survived, the music for "The Courtship of the Yonghy-Bonghy-Bò" and "The Pelican Chorus." While he never played professionally, he did perform his own nonsense songs and his settings of others' poetry at countless social gatherings, sometimes adding his own lyrics (as with the song "The Nervous Family"), and sometimes replacing serious lyrics with nursery rhymes.


    The closest he came to marriage was two proposals, both to the same woman 46 years his junior, which were not accepted. For companions he relied instead on friends and correspondents, and especially, during later life, on his Albanian Souliote chef, Giorgis, a faithful friend and, as Lear complained, a thoroughly unsatisfactory chef.Another trusted companion in San Remo was his cat, Foss, who died in 1886 and was buried with some ceremony in a garden at Villa Tennyson.


    Lear and Foss by Lear

    Lear travelled widely throughout his life and eventually settled in San Remo, on his beloved Mediterranean coast, in the 1870s, at a villa he named "Villa Tennyson." Lear was known to introduce himself with a long pseudonym: "Mr Abebika kratoponoko Prizzikalo Kattefello Ablegorabalus Ableborinto phashyph" or "Chakonoton the Cozovex Dossi Fossi Sini Tomentilla Coronilla Polentilla Battledore & Shuttlecock Derry down Derry Dumps"


    After a long decline in his health, Lear died at his villa in 1888 of heart disease, from which he had suffered since at least 1870. Lear's funeral was said to be a sad, lonely affair by the wife of Dr. Hassall, Lear's physician, none of Lear's many lifelong friends being able to attend. He is buried in the Cemetery Foce in San Remo. On his headstone are inscribed these lines about Mount Tomohrit (in Albania) from Tennyson's poem To E.L. [Edward Lear], On His Travels in Greece:

                                  all things fair.

    With such a pencil, such a pen.

    You shadow forth to distant men,

    I read and felt that I was there.


    Edward Lear’s published works:

    1830-32 Illustrations of the Family of Psittacidae or Parrots

    1833-35 A Monograph of the  Ramphastidae, or Family of Toucans

    1832-36 A Monograph of Testudinata (Turtles)
    1841 Views in Rome and its Environs
    1846 Gleanings from the Menagerie at Knowsley Hall
    1846 Illustrated Excursions in Italy
    1846 Book of Nonsense (1846)
    1851 Journal of a Landscape Painter in Greece and Albania
    1852 Journal of a Landscape Painter in Southern Calabria
    1862 Book of Nonsense and More Nonsense
    1863 Views in the Seven Ionian Isles
    1870 Journal of a Landscape Painter in Corsica
    1871 Nonsense Songs and Stories
    1872 More Nonsense Songs, Pictures, etc.
    1877 Laughable Lyrics
    1888 Nonsense Botany
    1889 Tennyson’s Poems, illustrated by Lear

    Lear’s Travels:


    1838-44 Italy

    1845 Alban Hills, and Volscian Mountains, Italy

    1847 Sicily, Calabria, and Campagna, Italy

    1847 Greece and the Greek Islands, Turkey, and Albania

    1849 Egypt, and Greece

    1851 England

    1853-54 Egypt

    1856 Corfu

    1858 Israel, and Jordan

    1860 Italian Riviera

    1861 Tuscany

    1862 Corfu

    1864-65 France

    1865 Malta

    1866 Yugoslavia

    1867 Egypt, and Ravenna, Italy

    1868 French Riviera, and Corsica, France

    1873-74 India