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Available in 12 languages" > <label id="p-lang-btn-label" for="p-lang-btn-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--action-progressive mw-portlet-lang-heading-12" aria-hidden="true" ><span class="vector-icon mw-ui-icon-language-progressive mw-ui-icon-wikimedia-language-progressive"></span> <span class="vector-dropdown-label-text">12 languages</span> </label> <div class="vector-dropdown-content"> <div class="vector-menu-content"> <ul class="vector-menu-content-list"> <li class="interlanguage-link interwiki-es mw-list-item"><a href="https://es.wikipedia.org/wiki/Monsieur_Bertin" title="Monsieur Bertin – Spanish" lang="es" hreflang="es" data-title="Monsieur Bertin" data-language-autonym="Español" data-language-local-name="Spanish" class="interlanguage-link-target"><span>Español</span></a></li><li class="interlanguage-link interwiki-fr mw-list-item"><a href="https://fr.wikipedia.org/wiki/Portrait_de_monsieur_Bertin" title="Portrait de monsieur Bertin – French" lang="fr" hreflang="fr" data-title="Portrait de monsieur Bertin" data-language-autonym="Français" data-language-local-name="French" class="interlanguage-link-target"><span>Français</span></a></li><li class="interlanguage-link interwiki-hy mw-list-item"><a href="https://hy.wikipedia.org/wiki/%D4%BC%D5%B8%D6%82%D5%AB_%D5%96%D6%80%D5%A1%D5%B6%D5%BD%D5%B8%D6%82%D5%A1_%D4%B2%D5%A5%D6%80%D5%BF%D5%A5%D5%B6%D5%AB_%D5%A4%D5%AB%D5%B4%D5%A1%D5%B6%D5%AF%D5%A1%D6%80%D5%A8" title="Լուի Ֆրանսուա Բերտենի դիմանկարը – Armenian" lang="hy" hreflang="hy" data-title="Լուի Ֆրանսուա Բերտենի դիմանկարը" data-language-autonym="Հայերեն" data-language-local-name="Armenian" class="interlanguage-link-target"><span>Հայերեն</span></a></li><li class="interlanguage-link interwiki-it mw-list-item"><a href="https://it.wikipedia.org/wiki/Ritratto_di_monsieur_Bertin" title="Ritratto di monsieur Bertin – Italian" lang="it" hreflang="it" data-title="Ritratto di monsieur Bertin" data-language-autonym="Italiano" data-language-local-name="Italian" class="interlanguage-link-target"><span>Italiano</span></a></li><li class="interlanguage-link interwiki-avk mw-list-item"><a href="https://avk.wikipedia.org/wiki/Delt_va_Louis-Fran%C3%A7ois_Bertin_(trutca_ke_Ingres)" title="Delt va Louis-François Bertin (trutca ke Ingres) – Kotava" lang="avk" hreflang="avk" data-title="Delt va Louis-François Bertin (trutca ke Ingres)" data-language-autonym="Kotava" data-language-local-name="Kotava" class="interlanguage-link-target"><span>Kotava</span></a></li><li class="interlanguage-link interwiki-arz mw-list-item"><a href="https://arz.wikipedia.org/wiki/%D8%B5%D9%88%D8%B1%D9%87_%D9%84%D9%84%D8%B3%D9%8A%D8%AF_%D8%A8%D9%8A%D8%B1%D8%AA%D9%8A%D9%86" title="صوره للسيد بيرتين – Egyptian Arabic" lang="arz" hreflang="arz" data-title="صوره للسيد بيرتين" data-language-autonym="مصرى" data-language-local-name="Egyptian Arabic" class="interlanguage-link-target"><span>مصرى</span></a></li><li class="interlanguage-link interwiki-pl mw-list-item"><a href="https://pl.wikipedia.org/wiki/Portret_pana_Bertin" title="Portret pana Bertin – Polish" lang="pl" hreflang="pl" data-title="Portret pana Bertin" data-language-autonym="Polski" data-language-local-name="Polish" class="interlanguage-link-target"><span>Polski</span></a></li><li class="interlanguage-link interwiki-pt mw-list-item"><a href="https://pt.wikipedia.org/wiki/Retrato_de_Monsieur_Bertin" title="Retrato de Monsieur Bertin – Portuguese" lang="pt" hreflang="pt" data-title="Retrato de Monsieur Bertin" data-language-autonym="Português" data-language-local-name="Portuguese" class="interlanguage-link-target"><span>Português</span></a></li><li class="interlanguage-link interwiki-ru mw-list-item"><a href="https://ru.wikipedia.org/wiki/%D0%9F%D0%BE%D1%80%D1%82%D1%80%D0%B5%D1%82_%D0%9B%D1%83%D0%B8_%D0%A4%D1%80%D0%B0%D0%BD%D1%81%D1%83%D0%B0_%D0%91%D0%B5%D1%80%D1%82%D0%B5%D0%BD%D0%B0" title="Портрет Луи Франсуа Бертена – Russian" lang="ru" hreflang="ru" data-title="Портрет Луи Франсуа Бертена" data-language-autonym="Русский" data-language-local-name="Russian" class="interlanguage-link-target"><span>Русский</span></a></li><li class="interlanguage-link interwiki-fi mw-list-item"><a href="https://fi.wikipedia.org/wiki/Monsieur_Bertinin_muotokuva" title="Monsieur Bertinin muotokuva – Finnish" lang="fi" hreflang="fi" data-title="Monsieur Bertinin muotokuva" data-language-autonym="Suomi" data-language-local-name="Finnish" class="interlanguage-link-target"><span>Suomi</span></a></li><li class="interlanguage-link interwiki-sv mw-list-item"><a href="https://sv.wikipedia.org/wiki/Portr%C3%A4tt_av_Louis-Fran%C3%A7ois_Bertin" title="Porträtt av Louis-François Bertin – Swedish" lang="sv" 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Click here for more information."><img alt="Featured article" src="//upload.wikimedia.org/wikipedia/en/thumb/e/e7/Cscr-featured.svg/20px-Cscr-featured.svg.png" decoding="async" width="20" height="19" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/e/e7/Cscr-featured.svg/30px-Cscr-featured.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/e/e7/Cscr-featured.svg/40px-Cscr-featured.svg.png 2x" data-file-width="466" data-file-height="443" /></a></span></div></div> </div> <div id="siteSub" class="noprint">From Wikipedia, the free encyclopedia</div> </div> <div id="contentSub"><div id="mw-content-subtitle"></div></div> <div id="mw-content-text" class="mw-body-content"><div class="mw-content-ltr mw-parser-output" lang="en" dir="ltr"><div class="shortdescription nomobile noexcerpt noprint searchaux" style="display:none">1832 painting by Ingres</div> <p class="mw-empty-elt"> </p> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Louis-Francois_Bertin.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Louis-Francois_Bertin.jpg/260px-Louis-Francois_Bertin.jpg" decoding="async" width="260" height="320" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Louis-Francois_Bertin.jpg/390px-Louis-Francois_Bertin.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Louis-Francois_Bertin.jpg/520px-Louis-Francois_Bertin.jpg 2x" data-file-width="1139" data-file-height="1400" /></a><figcaption><a href="/wiki/Jean-Auguste-Dominique_Ingres" title="Jean-Auguste-Dominique Ingres">Jean-Auguste-Dominique Ingres</a>, <i>Portrait of Monsieur Bertin</i>, 1832, oil on canvas, 116.2 cm × 94.9 cm (45.7 in × 37.4 in). <a href="/wiki/Mus%C3%A9e_du_Louvre" class="mw-redirect" title="Musée du Louvre">Musée du Louvre</a></figcaption></figure> <p><i><b>Portrait of Monsieur Bertin</b></i> is an 1832 oil on canvas painting by <a href="/wiki/Jean-Auguste-Dominique_Ingres" title="Jean-Auguste-Dominique Ingres">Jean-Auguste-Dominique Ingres</a>. It depicts <a href="/wiki/Louis-Fran%C3%A7ois_Bertin" title="Louis-François Bertin">Louis-François Bertin</a> (1766–1841), the French writer, art collector and director of the pro-royalist <i><a href="/wiki/Journal_des_d%C3%A9bats" title="Journal des débats">Journal des débats</a></i>. Ingres completed the portrait during his first period of success; having achieved acclaim as a <a href="/wiki/History_painting" title="History painting">history painter</a>, he accepted portrait commissions with reluctance, regarding them as a distraction from more important work. Bertin was Ingres' friend and a politically active member of the French upper-middle class. Ingres presents him as a personification of the commercially minded leaders of the liberal <a href="/wiki/July_Monarchy" title="July Monarchy">reign</a> of <a href="/wiki/Louis_Philippe_I" title="Louis Philippe I">Louis Philippe I</a>. He is physically imposing and self-assured, but his real-life personality shines through – warm, wry and engaging to those who had earned his trust. </p><p>The painting had a prolonged genesis. Ingres agonised over the pose during several preparatory sketches. The final work captures the sitter's character,<sup id="cite_ref-b325_1-0" class="reference"><a href="#cite_note-b325-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> conveying a restless energy and imposing bulk. He sits in three-quarter profile against a brown ground lit from the right, his fingers are pronounced and highly detailed, while the polish of his chair reflects light from an unseen window. It is an unflinchingly <a href="/wiki/Realism_(arts)" title="Realism (arts)">realistic</a> depiction of ageing and emphasises the furrowed skin and thinning hair of an overweight man who yet maintains his resolve and determination. </p><p>Ingres' portrait was a critical and popular success, but the sitter was a private person. Although his family worried about caricature and disapproved, it became widely known and sealed the artist's reputation. It was praised at the <a href="/wiki/Salon_(Paris)" title="Salon (Paris)">Paris Salon</a> of 1833, and has been influential to both academic painters such as <a href="/wiki/L%C3%A9on_Bonnat" title="Léon Bonnat">Léon Bonnat</a> and later modernists including <a href="/wiki/Pablo_Picasso" title="Pablo Picasso">Pablo Picasso</a> and <a href="/wiki/F%C3%A9lix_Vallotton" title="Félix Vallotton">Félix Vallotton</a>. Modern art historians regard it as Ingres' finest male portrait. It has been on permanent display at the <a href="/wiki/Mus%C3%A9e_du_Louvre" class="mw-redirect" title="Musée du Louvre">Musée du Louvre</a> since 1897. </p> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="Background">Background</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Portrait_of_Monsieur_Bertin&action=edit&section=1" title="Edit section: Background"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Ingres,_Armand_Bertin_1842,_N341.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/5/52/Ingres%2C_Armand_Bertin_1842%2C_N341.jpg/170px-Ingres%2C_Armand_Bertin_1842%2C_N341.jpg" decoding="async" width="170" height="219" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/5/52/Ingres%2C_Armand_Bertin_1842%2C_N341.jpg/255px-Ingres%2C_Armand_Bertin_1842%2C_N341.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/5/52/Ingres%2C_Armand_Bertin_1842%2C_N341.jpg/340px-Ingres%2C_Armand_Bertin_1842%2C_N341.jpg 2x" data-file-width="452" data-file-height="582" /></a><figcaption>Ingres, <i>Portrait of Armand Bertin</i>, 1842. Private collection. The family resemblance is visible.</figcaption></figure> <p>Louis-François Bertin was aged 66 when portrayed in 1832.<sup id="cite_ref-b325_1-1" class="reference"><a href="#cite_note-b325-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> He had befriended Ingres either through his son <a href="/wiki/%C3%89douard_Bertin" title="Édouard Bertin">Édouard Bertin</a>, a student of the painter,<sup id="cite_ref-VP_2-0" class="reference"><a href="#cite_note-VP-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> or via <a href="/wiki/%C3%89tienne-Jean_Del%C3%A9cluze" title="Étienne-Jean Delécluze">Étienne-Jean Delécluze</a>, Ingres' friend and the <i>Journal'</i>s art critic.<sup id="cite_ref-3" class="reference"><a href="#cite_note-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> In either case the genesis of the commission is unknown. Bertin was a leader of the French upper class and a supporter of <a href="/wiki/Louis_Philippe_I" title="Louis Philippe I">Louis Philippe</a> and the <a href="/wiki/Bourbon_Restoration_in_France" title="Bourbon Restoration in France">Bourbon Restoration</a>. He was a director of the <i><a href="/wiki/Le_Moniteur_Universel" title="Le Moniteur Universel">Le Moniteur Universel</a></i> until 1823 when the <i><a href="/wiki/Journal_des_d%C3%A9bats" title="Journal des débats">Journal des débats</a></i> became the recognised voice of the <a href="/wiki/Liberalism" title="Liberalism">liberal</a>-constitutional opposition after he had come to criticize <a href="/wiki/Absolute_monarchy" title="Absolute monarchy">absolutism</a>. He eventually gave his support to the <a href="/wiki/July_Monarchy" title="July Monarchy">July Monarchy</a>. The <i>Journal</i> supported contemporary art, and Bertin was a patron, collector and cultivator of writers, painters and other artists.<sup id="cite_ref-b156_4-0" class="reference"><a href="#cite_note-b156-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> Ingres was sufficiently intrigued by Bertin's personality to accept the commission.<sup id="cite_ref-VP_2-1" class="reference"><a href="#cite_note-VP-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> </p> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Ingres_Mme_Armand_Bertin_n%C3%A9e_C%C3%A9cile_Dollfuss.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/2/25/Ingres_Mme_Armand_Bertin_n%C3%A9e_C%C3%A9cile_Dollfuss.jpg/170px-Ingres_Mme_Armand_Bertin_n%C3%A9e_C%C3%A9cile_Dollfuss.jpg" decoding="async" width="170" height="201" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/2/25/Ingres_Mme_Armand_Bertin_n%C3%A9e_C%C3%A9cile_Dollfuss.jpg/255px-Ingres_Mme_Armand_Bertin_n%C3%A9e_C%C3%A9cile_Dollfuss.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/2/25/Ingres_Mme_Armand_Bertin_n%C3%A9e_C%C3%A9cile_Dollfuss.jpg/340px-Ingres_Mme_Armand_Bertin_n%C3%A9e_C%C3%A9cile_Dollfuss.jpg 2x" data-file-width="523" data-file-height="619" /></a><figcaption>Ingres, <i>Portrait of Mme Armand Bertin née Cécile Dollfus</i>, 1843. Private collection</figcaption></figure> <p>The final painting was completed during a month at Bertin's estate of retreat, <a href="/w/index.php?title=Ch%C3%A2teau_des_Roches_(Bi%C3%A8vres)&action=edit&redlink=1" class="new" title="Château des Roches (Bièvres) (page does not exist)">Le Château des Roches</a>, in <a href="/wiki/Bi%C3%A8vres,_Essonne" title="Bièvres, Essonne">Bièvres, Essonne</a>. Ingres made daily visits while Bertin entertained guests such as <a href="/wiki/Victor_Hugo" title="Victor Hugo">Victor Hugo</a>, his mistress <a href="/wiki/Juliette_Drouet" title="Juliette Drouet">Juliette Drouet</a>, <a href="/wiki/Hector_Berlioz" title="Hector Berlioz">Hector Berlioz</a> and <a href="/wiki/Franz_Liszt" title="Franz Liszt">Franz Liszt</a> and <a href="/wiki/Charles_Gounod" title="Charles Gounod">Charles Gounod</a>.<sup id="cite_ref-s318_5-0" class="reference"><a href="#cite_note-s318-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> Ingres later made drawings of the Bertin family, including a depiction of his host's wife and their son Armand and daughter-in-law, Cécile.<sup id="cite_ref-s320_6-0" class="reference"><a href="#cite_note-s320-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> </p><p>Ingres' early career coincided with the <a href="/wiki/Romanticism" title="Romanticism">Romantic</a> movement, which reacted against the prevailing <a href="/wiki/Neoclassicism#Architecture_and_the_decorative_arts" title="Neoclassicism">neoclassical</a> style. Neoclassicism in French art had developed as artists saw themselves as part of the cultural center of Europe, and France as the successor to Rome.<sup id="cite_ref-7" class="reference"><a href="#cite_note-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> Romantic painting was freer and more expressive, preoccupied more with colour than with line or form, and more focused on style than on subject matter. Paintings based on classical themes fell out of fashion, replaced by contemporary rather than historical subject matter, especially in portraiture. Ingres resisted this trend,<sup id="cite_ref-8" class="reference"><a href="#cite_note-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> and wrote, "The history painter shows the species in general; while the portrait painter represents only the specific individual—a model often ordinary and full of shortcomings."<sup id="cite_ref-9" class="reference"><a href="#cite_note-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> </p><p>His early source of income was <a href="/wiki/Commission_(art)" title="Commission (art)">commissioned</a> portraits, a genre he dismissed as lacking in grandeur. The success of his <i><a href="/wiki/The_Vow_of_Louis_XIII" title="The Vow of Louis XIII">The Vow of Louis XIII</a></i> at the <a href="/wiki/Salon_of_1824" title="Salon of 1824">1824 Salon</a> marked an abrupt change in his fortunes: he received a series of commissions for large history paintings, and for the next decade he painted few portraits.<sup id="cite_ref-10" class="reference"><a href="#cite_note-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> His financial difficulties behind him, Ingres could afford to concentrate on historical subjects, although he was highly sought-after as a portraitist. He wrote in 1847, "Damned portraits, they are so difficult to do that they prevent me getting on with greater things that I could do more quickly."<sup id="cite_ref-R114_11-0" class="reference"><a href="#cite_note-R114-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> His female portraits were more successful than his male portraits. The 1814 <i><a href="/wiki/Portrait_of_Madame_de_Senonnes" title="Portrait of Madame de Senonnes">Portrait of Madame de Senonnes</a></i> was described as "to the feminine what the Louvre's Bertin is to the masculine". The sitter for his 1848 <i><a href="/wiki/Portrait_of_Baronne_de_Rothschild" title="Portrait of Baronne de Rothschild">Portrait of Baronne de Rothschild</a></i> looks out at the viewer with the same directness as Bertin, but is softened by her attractive dress and relaxed pose; she is engaging and sympathetic rather than tough and imposing.<sup id="cite_ref-R114_11-1" class="reference"><a href="#cite_note-R114-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> </p> <div style="clear:both;" class=""></div> <div class="mw-heading mw-heading2"><h2 id="The_portrait">The portrait</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Portrait_of_Monsieur_Bertin&action=edit&section=2" title="Edit section: The portrait"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="mw-heading mw-heading3"><h3 id="Preparation_and_execution">Preparation and execution</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Portrait_of_Monsieur_Bertin&action=edit&section=3" title="Edit section: Preparation and execution"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Ingres_Study_for_the_Portrait_of_monsieur_Bertin.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/9/9e/Ingres_Study_for_the_Portrait_of_monsieur_Bertin.jpg/170px-Ingres_Study_for_the_Portrait_of_monsieur_Bertin.jpg" decoding="async" width="170" height="257" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/9e/Ingres_Study_for_the_Portrait_of_monsieur_Bertin.jpg/255px-Ingres_Study_for_the_Portrait_of_monsieur_Bertin.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/9/9e/Ingres_Study_for_the_Portrait_of_monsieur_Bertin.jpg 2x" data-file-width="320" data-file-height="484" /></a><figcaption>Ingres, 1832 study on black charcoal and graphite on paper. <a href="/wiki/Mus%C3%A9e_Ingres" class="mw-redirect" title="Musée Ingres">Musée Ingres</a>, Montauban</figcaption></figure> <p>Ingres was self-critical and consumed by self-doubt. He often took months to complete a portrait,<sup id="cite_ref-12" class="reference"><a href="#cite_note-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> leaving large periods of inactivity between sittings. With Bertin, he agonised in finding a pose to best convey both the man's restless energy and his age. At least seven studies survive,<sup id="cite_ref-s303_13-0" class="reference"><a href="#cite_note-s303-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> three are signed and dated. Ingres was a master draftsman and the sketches, if not fully realised, are highly regarded in their own right. The sketches are exemplary in their handling of line and form, and similar in size.<sup id="cite_ref-14" class="reference"><a href="#cite_note-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> </p><p>The earliest study shows Bertin standing and leaning on a table in an almost <a href="/wiki/Napoleon" title="Napoleon">Napoleonic</a> pose.<sup id="cite_ref-15" class="reference"><a href="#cite_note-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> His hard stare is already established, but the focus seems to be on his groin rather than his face.<sup id="cite_ref-16" class="reference"><a href="#cite_note-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> Ingres struggled with the sketch; the head is on a square of attached paper which must have replaced an earlier version that was cut out, and other areas have been rubbed over and heavily reworked. The next extant drawing shows Bertin seated, but the chair is missing. The last surviving sketch is the closest to the eventual painting and has a chair, though his bulk has not yet been filled out.<sup id="cite_ref-b156_4-1" class="reference"><a href="#cite_note-b156-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> Frustrated by his inability to capture his subject, Ingres broke down in tears in both his studio and in company. Bertin recalled "consoling him: 'my dear Ingres, don't bother about me; and above all don't torment yourself like that. You want to start my portrait over again? Take your own time for it. You will never tire me, and just as long as you want me to come, I am at your orders.'"<sup id="cite_ref-17" class="reference"><a href="#cite_note-17"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup> After agreeing to a breathing spell Ingres finally settled on a design. </p> <ul class="gallery mw-gallery-traditional center"> <li class="gallerybox" style="width: 235px"> <div class="thumb" style="width: 230px; height: 230px;"><span typeof="mw:File"><a href="/wiki/File:Study_for_the_Portrait_of_Monsieur_Bertin_Ingres_1832a.jpg" class="mw-file-description" title="Ingres, Study for the Portrait of Monsieur Bertin, 1832. Musée du Louvre, Paris"><img alt="Ingres, Study for the Portrait of Monsieur Bertin, 1832. Musée du Louvre, Paris" src="//upload.wikimedia.org/wikipedia/commons/thumb/c/cc/Study_for_the_Portrait_of_Monsieur_Bertin_Ingres_1832a.jpg/155px-Study_for_the_Portrait_of_Monsieur_Bertin_Ingres_1832a.jpg" decoding="async" width="155" height="200" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/c/cc/Study_for_the_Portrait_of_Monsieur_Bertin_Ingres_1832a.jpg/233px-Study_for_the_Portrait_of_Monsieur_Bertin_Ingres_1832a.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/c/cc/Study_for_the_Portrait_of_Monsieur_Bertin_Ingres_1832a.jpg/310px-Study_for_the_Portrait_of_Monsieur_Bertin_Ingres_1832a.jpg 2x" data-file-width="493" data-file-height="635" /></a></span></div> <div class="gallerytext">Ingres, <i>Study for the Portrait of Monsieur Bertin</i>, 1832. <a href="/wiki/Louvre" title="Louvre">Musée du Louvre</a>, Paris</div> </li> <li class="gallerybox" style="width: 235px"> <div class="thumb" style="width: 230px; height: 230px;"><span typeof="mw:File"><a href="/wiki/File:Study_for_the_Portrait_of_Monsieur_Bertin_Ingres_1832.jpg" class="mw-file-description" title="Ingres, Study for the Portrait of Monsieur Bertin, 1832. Bequeathed to the Louvre by Grace Rainey Rogers in 1943"><img alt="Ingres, Study for the Portrait of Monsieur Bertin, 1832. Bequeathed to the Louvre by Grace Rainey Rogers in 1943" src="//upload.wikimedia.org/wikipedia/commons/thumb/5/59/Study_for_the_Portrait_of_Monsieur_Bertin_Ingres_1832.jpg/178px-Study_for_the_Portrait_of_Monsieur_Bertin_Ingres_1832.jpg" decoding="async" width="178" height="200" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/5/59/Study_for_the_Portrait_of_Monsieur_Bertin_Ingres_1832.jpg/268px-Study_for_the_Portrait_of_Monsieur_Bertin_Ingres_1832.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/5/59/Study_for_the_Portrait_of_Monsieur_Bertin_Ingres_1832.jpg/357px-Study_for_the_Portrait_of_Monsieur_Bertin_Ingres_1832.jpg 2x" data-file-width="549" data-file-height="615" /></a></span></div> <div class="gallerytext">Ingres, <i>Study for the Portrait of Monsieur Bertin</i>, 1832. Bequeathed to the Louvre by Grace Rainey Rogers in 1943</div> </li> <li class="gallerybox" style="width: 235px"> <div class="thumb" style="width: 230px; height: 230px;"><span typeof="mw:File"><a href="/wiki/File:Study_for_Portrait_of_Mr_Bertin_Ingres.jpg" class="mw-file-description" title="Ingres, study of Bertin's right hand. Graphite on tracing paper. Fogg Museum, Harvard, MA"><img alt="Ingres, study of Bertin's right hand. Graphite on tracing paper. Fogg Museum, Harvard, MA" src="//upload.wikimedia.org/wikipedia/commons/thumb/4/41/Study_for_Portrait_of_Mr_Bertin_Ingres.jpg/200px-Study_for_Portrait_of_Mr_Bertin_Ingres.jpg" decoding="async" width="200" height="173" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/4/41/Study_for_Portrait_of_Mr_Bertin_Ingres.jpg 1.5x" data-file-width="263" data-file-height="228" /></a></span></div> <div class="gallerytext">Ingres, study of Bertin's right hand. Graphite on tracing paper. <a href="/wiki/Fogg_Museum" class="mw-redirect" title="Fogg Museum">Fogg Museum</a>, Harvard, MA</div> </li> </ul> <p>Early biographers provide differing anecdotes regarding the inspiration for the distinctive seated pose. <a href="/wiki/Henri_Delaborde_(painter)" title="Henri Delaborde (painter)">Henri Delaborde</a> said Ingres observed Bertin in this posture while arguing politics after dinner.<sup id="cite_ref-Cohn_102_18-0" class="reference"><a href="#cite_note-Cohn_102-18"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup> According to <a href="/wiki/Eug%C3%A8ne_Emmanuel_Amaury_Duval" title="Eugène Emmanuel Amaury Duval">Eugène Emmanuel Amaury Duval</a> (who said he had heard the story from Bertin), Ingres noticed a pose Bertin took while with Ingres at a café.<sup id="cite_ref-19" class="reference"><a href="#cite_note-19"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup> Bertin said that Ingres, confident that he had finally established the pose for the portrait, "came close and speaking almost in my ear said: 'Come sit tomorrow, your portrait is [as good as] done.'"<sup id="cite_ref-20" class="reference"><a href="#cite_note-20"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-21" class="reference"><a href="#cite_note-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> Bertin's final pose reverses the usual relationship between the two men. The artist becomes the cool, detached observer; Bertin, usually calm and reasoned, is now restless and impatient, mirroring Ingres' irritation at spending time on portraiture.<sup id="cite_ref-22" class="reference"><a href="#cite_note-22"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Description">Description</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Portrait_of_Monsieur_Bertin&action=edit&section=4" title="Edit section: Description"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Hans_Holbein_d._J._066.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/e/e6/Hans_Holbein_d._J._066.jpg/170px-Hans_Holbein_d._J._066.jpg" decoding="async" width="170" height="212" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/e/e6/Hans_Holbein_d._J._066.jpg/255px-Hans_Holbein_d._J._066.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/e/e6/Hans_Holbein_d._J._066.jpg/340px-Hans_Holbein_d._J._066.jpg 2x" data-file-width="840" data-file-height="1049" /></a><figcaption><a href="/wiki/Hans_Holbein_the_Younger" title="Hans Holbein the Younger">Hans Holbein</a>, <i>Portrait of <a href="/wiki/William_Warham" title="William Warham">William Warham</a></i>, 1527. Louvre, Paris</figcaption></figure> <p>Bertin is presented as energetic, strong and warm-hearted.<sup id="cite_ref-b156_4-2" class="reference"><a href="#cite_note-b156-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> His hair is grey verging on white, his fingers spread across his knees. The fingers were described in 1959 by artist <a href="/wiki/Henry_de_Waroquier" title="Henry de Waroquier">Henry de Waroquier</a> as "crab-like claws ... emerging from the tenebrous caverns that are the sleeves of his coat."<sup id="cite_ref-23" class="reference"><a href="#cite_note-23"><span class="cite-bracket">[</span>23<span class="cite-bracket">]</span></a></sup> The bulk of his body is compacted in a tight black jacket, black trousers and brown satin waistcoat, with a starched white shirt and <a href="/wiki/Cravat_(early)" title="Cravat (early)">cravat</a> revealing his open neck. He wears a gold watch and a pair of glasses in his right pocket. In the view of art historian <a href="/wiki/Robert_Rosenblum" title="Robert Rosenblum">Robert Rosenblum</a>, his "nearly ferocious presence" is accentuated by the tightly constrained space. The chair and clothes appear too small to contain him. His coiled, stubby fingers rest on his thighs, barely protruding from the sleeves of his jacket, while his neck cannot be seen above his narrow starched white collar.<sup id="cite_ref-RR102_24-0" class="reference"><a href="#cite_note-RR102-24"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup> The painting is in monochrome and muted colours; predominately blacks, greys and browns. The exceptions are the whites of his collar and sleeves, the reds in the cushion<sup id="cite_ref-RR102_24-1" class="reference"><a href="#cite_note-RR102-24"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup> and the light reflecting on the leather of the arm-chair.<sup id="cite_ref-25" class="reference"><a href="#cite_note-25"><span class="cite-bracket">[</span>25<span class="cite-bracket">]</span></a></sup> In 19th-century art, vivid colour was associated with femininity and emotion; male portraiture tended towards muted shades and <a href="/wiki/Monochrome" title="Monochrome">monochrome</a>.<sup id="cite_ref-garb32_26-0" class="reference"><a href="#cite_note-garb32-26"><span class="cite-bracket">[</span>26<span class="cite-bracket">]</span></a></sup> </p><p>Bertin leans slightly forward, boldly staring at the viewer in a manner that is both imposing and paternal. He seems engaged, and poised to speak,<sup id="cite_ref-MdL_27-0" class="reference"><a href="#cite_note-MdL-27"><span class="cite-bracket">[</span>27<span class="cite-bracket">]</span></a></sup> his body fully towards the viewer and his expression etched with certainty.<sup id="cite_ref-28" class="reference"><a href="#cite_note-28"><span class="cite-bracket">[</span>28<span class="cite-bracket">]</span></a></sup> Influenced by <a href="/wiki/Nicolas_Poussin" title="Nicolas Poussin">Nicolas Poussin</a>'s 1650 <i>Self-Portrait with Allegory of Painting</i>, Ingres minutely details the veins and wrinkles of his face.<sup id="cite_ref-29" class="reference"><a href="#cite_note-29"><span class="cite-bracket">[</span>29<span class="cite-bracket">]</span></a></sup> Bertin is in three-quarter profile, against a gold–brown background lit from the right. He rests on a curved-back mahogany chair, the arms of which reflect light falling from the upper left of the pictorial space.<sup id="cite_ref-s303_13-1" class="reference"><a href="#cite_note-s303-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> </p> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Jacques-Louis_David_-_Portrait_of_Emmanuel-Joseph_Siey%C3%A8s_-_WGA06098.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/a/a9/Jacques-Louis_David_-_Portrait_of_Emmanuel-Joseph_Siey%C3%A8s_-_WGA06098.jpg/170px-Jacques-Louis_David_-_Portrait_of_Emmanuel-Joseph_Siey%C3%A8s_-_WGA06098.jpg" decoding="async" width="170" height="224" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/a/a9/Jacques-Louis_David_-_Portrait_of_Emmanuel-Joseph_Siey%C3%A8s_-_WGA06098.jpg/255px-Jacques-Louis_David_-_Portrait_of_Emmanuel-Joseph_Siey%C3%A8s_-_WGA06098.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/a/a9/Jacques-Louis_David_-_Portrait_of_Emmanuel-Joseph_Siey%C3%A8s_-_WGA06098.jpg/340px-Jacques-Louis_David_-_Portrait_of_Emmanuel-Joseph_Siey%C3%A8s_-_WGA06098.jpg 2x" data-file-width="1800" data-file-height="2368" /></a><figcaption><a href="/wiki/Jacques-Louis_David" title="Jacques-Louis David">Jacques-Louis David</a>, <i>Portrait of <a href="/wiki/Emmanuel_Joseph_Siey%C3%A8s" title="Emmanuel Joseph Sieyès">Emmanuel Joseph Sieyès</a></i>, 1817. <a href="/wiki/Fogg_Museum" class="mw-redirect" title="Fogg Museum">Fogg Museum</a>, Harvard University, Cambridge</figcaption></figure> <p>Ingres seems to have adapted elements of the approach and technique of <a href="/wiki/Hans_Holbein_the_Younger" title="Hans Holbein the Younger">Hans Holbein</a>'s 1527 <i>Portrait of <a href="/wiki/William_Warham" title="William Warham">William Warham</a></i>, now in the Louvre. Neither artist placed much emphasis on colour, preferring dark or cool tones. The Warham portrait seems to have informed the indicators of Bertin's aging and the emphasis on his fingers.<sup id="cite_ref-30" class="reference"><a href="#cite_note-30"><span class="cite-bracket">[</span>30<span class="cite-bracket">]</span></a></sup> Jacques-Louis David also explored hyper-realism in his depictions of Cooper Penrose (1802) and <a href="/wiki/Emmanuel_Joseph_Siey%C3%A8s" title="Emmanuel Joseph Sieyès">Emmanuel Joseph Sieyès</a> (1817). In the later painting, David shows tiny glints of light reflecting on the sitter's chair and painstakingly details "every wayward curl of [Sieyès'] closely cropped auburn hair."<sup id="cite_ref-r6_31-0" class="reference"><a href="#cite_note-r6-31"><span class="cite-bracket">[</span>31<span class="cite-bracket">]</span></a></sup> </p><p>The Greek <a href="/wiki/Meander_(art)" title="Meander (art)">meander</a> pattern at the foot of the wall is unusually close to the <a href="/wiki/Picture_plane" title="Picture plane">picture plane</a> confining the sitter. The wall is painted in gold, adding to the sense of a monumental portrait of a modern icon.<sup id="cite_ref-RSL_32-0" class="reference"><a href="#cite_note-RSL-32"><span class="cite-bracket">[</span>32<span class="cite-bracket">]</span></a></sup> The details of Bertin's face are highly symmetrical. His eyes are heavily lidded, circled by oppositely positioned twists of his white collar, the winds of his hair, eyebrows and eyelids. His mouth turns downwards at the left and upwards to the right.<sup id="cite_ref-RR102_24-2" class="reference"><a href="#cite_note-RR102-24"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup> This dual expression is intended to show his duality and complex personality: he is a hard-nosed businessman, and a patron of the arts. The reflection of a window can be seen in the rim of Bertin's chair. It is barely discernible, but adds spatial depth. The <i><a href="/wiki/Portrait_of_Leo_X_(Raphael)" title="Portrait of Leo X (Raphael)">Portrait of Pope Leo X</a></i> (c. 1519) by <a href="/wiki/Raphael" title="Raphael">Raphael</a>, a source for the Bertin portrait, also features a window reflection of the <a href="/wiki/Hilt#Pommel" title="Hilt">pommel</a> on the pope's chair.<sup id="cite_ref-G154_33-0" class="reference"><a href="#cite_note-G154-33"><span class="cite-bracket">[</span>33<span class="cite-bracket">]</span></a></sup> </p> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Jean-auguste-dominique_ingres,_il_vecchio_bertin,_1832.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Jean-auguste-dominique_ingres%2C_il_vecchio_bertin%2C_1832.jpg/170px-Jean-auguste-dominique_ingres%2C_il_vecchio_bertin%2C_1832.jpg" decoding="async" width="170" height="198" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Jean-auguste-dominique_ingres%2C_il_vecchio_bertin%2C_1832.jpg/255px-Jean-auguste-dominique_ingres%2C_il_vecchio_bertin%2C_1832.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Jean-auguste-dominique_ingres%2C_il_vecchio_bertin%2C_1832.jpg/340px-Jean-auguste-dominique_ingres%2C_il_vecchio_bertin%2C_1832.jpg 2x" data-file-width="1884" data-file-height="2192" /></a><figcaption>The original heavily decorated frame, probably designed by Ingres</figcaption></figure> <p>The painting is signed <i>J.Ingres Pinxit 1832</i> in capitals at the top left, and <i>L.F. Bertin</i>, also in capitals, at the upper right.<sup id="cite_ref-34" class="reference"><a href="#cite_note-34"><span class="cite-bracket">[</span>34<span class="cite-bracket">]</span></a></sup> The frame is the original, and thought to have been designed by Ingres himself. It shows animals around a sinuous and richly carved grapevine. Art historians Paul Mitchell and Lynn Roberts note that the design follows an old French tradition of placing austere male portraits within "exuberantly carved" frames. The frame closely resembles that of Raphael's c. 1514–15 <i><a href="/wiki/Portrait_of_Baldassare_Castiglione" title="Portrait of Baldassare Castiglione">Portrait of Baldassare Castiglione</a></i>, a painting that influenced Ingres, especially in colour and tone.<sup id="cite_ref-cs305_35-0" class="reference"><a href="#cite_note-cs305-35"><span class="cite-bracket">[</span>35<span class="cite-bracket">]</span></a></sup> A similar frame was used for Ingres's 1854 painting of <i><a href="/wiki/Joan_of_Arc_at_the_Coronation_of_Charles_VII" title="Joan of Arc at the Coronation of Charles VII">Joan of Arc at the Coronation of Charles VII</a></i>.<sup id="cite_ref-36" class="reference"><a href="#cite_note-36"><span class="cite-bracket">[</span>36<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Reception">Reception</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Portrait_of_Monsieur_Bertin&action=edit&section=5" title="Edit section: Reception"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p><i>Monsieur Bertin</i> was exhibited at the 1833 <a href="/wiki/Salon_(Paris)" title="Salon (Paris)">Salon</a> alongside his 1807 <i><a href="/wiki/Portrait_of_Madame_Duvaucey" title="Portrait of Madame Duvaucey">Portrait of Madame Duvaucey</a></i>. It met with near universal praise to become his most successful artwork to that point. It sealed his reputation as a portraitist, reaching far enough into public consciousness to become a standard for newspaper political satires. Today it is considered his greatest portrait. Ingres viewed all this as a mixed blessing, remarking that "since my portraits of Bertin and <a href="/wiki/Louis-Mathieu_Mol%C3%A9" title="Louis-Mathieu Molé">Molé</a>, everybody wants portraits. There are six that I've turned down, or am avoiding, because I can't stand them."<sup id="cite_ref-37" class="reference"><a href="#cite_note-37"><span class="cite-bracket">[</span>37<span class="cite-bracket">]</span></a></sup> </p> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:M_Betin-le-Veau_Le_Charivari_1833.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/1/1a/M_Betin-le-Veau_Le_Charivari_1833.jpg/220px-M_Betin-le-Veau_Le_Charivari_1833.jpg" decoding="async" width="220" height="255" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/1/1a/M_Betin-le-Veau_Le_Charivari_1833.jpg/330px-M_Betin-le-Veau_Le_Charivari_1833.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/1/1a/M_Betin-le-Veau_Le_Charivari_1833.jpg/440px-M_Betin-le-Veau_Le_Charivari_1833.jpg 2x" data-file-width="495" data-file-height="573" /></a><figcaption>Unknown artist, <i>M. Bêtin le-Veau</i>. Parody published in <i><a href="/wiki/Le_Charivari" title="Le Charivari">Le Charivari</a></i>, 1833</figcaption></figure> <p>Before the official exhibition, Ingres displayed the painting in his studio for friends and pupils. Most were lavish in their praise, although Louis Lacuria confided to a friend that he feared people might "find the colouring a bit dreary".<sup id="cite_ref-cs304_38-0" class="reference"><a href="#cite_note-cs304-38"><span class="cite-bracket">[</span>38<span class="cite-bracket">]</span></a></sup> He proved correct; at the Salon, critics praised the draftsmanship, but some felt the portrait exemplified Ingres' weakness as a colourist.<sup id="cite_ref-s503_39-0" class="reference"><a href="#cite_note-s503-39"><span class="cite-bracket">[</span>39<span class="cite-bracket">]</span></a></sup> It was routinely faulted for its "purplish tone"—which the ageing of the oil medium has transformed over time to warm greys and browns.<sup id="cite_ref-cs306_40-0" class="reference"><a href="#cite_note-cs306-40"><span class="cite-bracket">[</span>40<span class="cite-bracket">]</span></a></sup> Bertin's wife Louis-Marie reportedly did not like the painting; his daughter, <a href="/wiki/Louise_Bertin" title="Louise Bertin">Louise</a>, thought it transformed her father from a "great lord" to a "fat farmer".<sup id="cite_ref-41" class="reference"><a href="#cite_note-41"><span class="cite-bracket">[</span>41<span class="cite-bracket">]</span></a></sup> Given the standings of the two men, the painting was received in both social and political terms. A number of writers mentioned Bertin's eventful career, in tones that were, according to art historian Andrew Carrington Shelton, either "bitingly sarcastic [or] fawningly reverential".<sup id="cite_ref-cs304_38-1" class="reference"><a href="#cite_note-cs304-38"><span class="cite-bracket">[</span>38<span class="cite-bracket">]</span></a></sup> There were many satirical reproductions and pointed editorials in the following years. Aware of Bertin's support of the <a href="/wiki/July_Monarchy" title="July Monarchy">July Monarchy</a>, writers at the <i><a href="/wiki/La_Gazette_(France)" title="La Gazette (France)">La Gazette de France</a></i> viewed the portrait as the epitome of the "opportunism and cynicism" of the new regime. Their anonymous critic excitedly wondered "what bitter irony it expresses, what hardened skepticism, sarcasm and ... pronounced cynicism".<sup id="cite_ref-42" class="reference"><a href="#cite_note-42"><span class="cite-bracket">[</span>42<span class="cite-bracket">]</span></a></sup> </p><p>Several critics mentioned Bertin's hands. Twentieth-century art historian <a href="/wiki/Albert_Boime" title="Albert Boime">Albert Boime</a> described them as "powerful, vulturine ... grasping his thighs in a gesture ... projecting ... enormous strength controlled". Some contemporary critics were not so kind. The photographer and critic <a href="/wiki/Nadar_(photographer)" class="mw-redirect" title="Nadar (photographer)">Félix Tournachon</a> was harshly critical, and disparaged what he saw as a "fantastical bundle of flesh ... under which, instead of bones and muscles, there can only be intestines – this flatulent hand, the rumbling of which I can hear!"<sup id="cite_ref-43" class="reference"><a href="#cite_note-43"><span class="cite-bracket">[</span>43<span class="cite-bracket">]</span></a></sup> Bertin's hands made a different impression on the critic F. de Lagenevais, who remarked: "A mediocre artist would have modified them, he would have replaced those swollen joints with the cylindrical fingers of the first handy model; but by this single alteration he would have changed the expression of the whole personality ... the energetic and mighty nature".<sup id="cite_ref-Cohn_102_18-1" class="reference"><a href="#cite_note-Cohn_102-18"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup> </p><p>The work's <a href="/wiki/Realism_(arts)" title="Realism (arts)">realism</a> attracted a large amount of commentary when it was first exhibited. Some saw it as an affront to Romanticism, others said that its small details not only showed an acute likeness, but built a psychological profile of the sitter. Art historian Geraldine Pelles sees Bertin as "at once intense, suspicious, and aggressive".<sup id="cite_ref-Pelles,_82_44-0" class="reference"><a href="#cite_note-Pelles,_82-44"><span class="cite-bracket">[</span>44<span class="cite-bracket">]</span></a></sup> She notes that there is a certain amount of <a href="/wiki/Psychological_projection" title="Psychological projection">projection</a> of the artist's personality and recalls Théophile Silvestre's description of Ingres; "There he was squarely seated in an armchair, motionless as an Egyptian god carved of granite, his hands stretched wide over parallel knees, his torso stiff, his head haughty".<sup id="cite_ref-Pelles,_82_44-1" class="reference"><a href="#cite_note-Pelles,_82-44"><span class="cite-bracket">[</span>44<span class="cite-bracket">]</span></a></sup> Some compared it to <a href="/wiki/Balthasar_Denner" title="Balthasar Denner">Balthasar Denner</a>, a German realist painter influenced by <a href="/wiki/Jan_van_Eyck" title="Jan van Eyck">Jan van Eyck</a>. Denner, in the words of Ingres scholar Robert Rosenblum, "specialised in recording every last line on the faces of aged men and women, and even reflections of windows in their eyes."<sup id="cite_ref-RR102_24-3" class="reference"><a href="#cite_note-RR102-24"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup> The comparison was made by Ingres' admirers and detractors alike. In 1833, Louis de Maynard of the <a href="/wiki/Coll%C3%A8ge-lyc%C3%A9e_Amp%C3%A8re" title="Collège-lycée Ampère">Collège-lycée Ampère</a>, writing in the influential <i>L'Europe littéraire</i>, dismissed Denner as a weak painter concerned with hyperrealistic "curiosities", and said that both he and Ingres fell short of the "sublime productions of Ingres' self-proclaimed hero, Raphael."<sup id="cite_ref-cs304_38-2" class="reference"><a href="#cite_note-cs304-38"><span class="cite-bracket">[</span>38<span class="cite-bracket">]</span></a></sup> </p><p>The following year Ingres sought to capitalise on the success of his Bertin portrait. He showed his ambitious history painting <i><a href="/wiki/The_Martyrdom_of_Saint_Symphorian" title="The Martyrdom of Saint Symphorian">The Martyrdom of Saint Symphorian</a></i> at the 1834 Salon, but it was harshly criticised; even Ingres' admirers offered only faint praise.<sup id="cite_ref-45" class="reference"><a href="#cite_note-45"><span class="cite-bracket">[</span>45<span class="cite-bracket">]</span></a></sup> Offended and frustrated, Ingres declared he would disown the Salon, abandon his residence in Paris for Rome, and relinquish all current positions, ending his role in public life. This petulance was not to last.<sup id="cite_ref-s504-5_46-0" class="reference"><a href="#cite_note-s504-5-46"><span class="cite-bracket">[</span>46<span class="cite-bracket">]</span></a></sup> </p><p>Bertin bequeathed the portrait to his daughter Louise (1805–1877) on his death. She passed it to her niece Marie-Louise-Sophie Bertin (1836–1893) wife of Jules Bapst, a later director of the <i>Journal des débats</i>. They bequeathed it to their niece Cécile Bapst, its last private owner. In 1897 Cécile sold it to the Musée du Louvre for 80,000 <a href="/wiki/Francs" class="mw-redirect" title="Francs">francs</a>.<sup id="cite_ref-cs306_40-1" class="reference"><a href="#cite_note-cs306-40"><span class="cite-bracket">[</span>40<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Legacy">Legacy</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Portrait_of_Monsieur_Bertin&action=edit&section=6" title="Edit section: Legacy"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:GertrudeStein.JPG" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/en/thumb/d/d6/GertrudeStein.JPG/170px-GertrudeStein.JPG" decoding="async" width="170" height="208" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/d/d6/GertrudeStein.JPG/255px-GertrudeStein.JPG 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/d/d6/GertrudeStein.JPG/340px-GertrudeStein.JPG 2x" data-file-width="816" data-file-height="999" /></a><figcaption><i>Portrait of <a href="/wiki/Gertrude_Stein" title="Gertrude Stein">Gertrude Stein</a></i>, <a href="/wiki/Pablo_Picasso" title="Pablo Picasso">Pablo Picasso</a>, 1906. <a href="/wiki/Metropolitan_Museum_of_Art" title="Metropolitan Museum of Art">Metropolitan Museum of Art</a>, New York</figcaption></figure> <p>The Bertin portrait has been hugely influential. At first it served as a model for depictions of energetic and intellectual 19th-century men, and later as a more universal type. Several 1890s works closely echo its form and motifs. <a href="/wiki/Jean-Joseph_Benjamin-Constant" title="Jean-Joseph Benjamin-Constant">Jean-Joseph Benjamin-Constant</a>'s monochrome and severe 1896 <i>Portrait of Alfred Chauchard</i> is heavily indebted,<sup id="cite_ref-r16_47-0" class="reference"><a href="#cite_note-r16-47"><span class="cite-bracket">[</span>47<span class="cite-bracket">]</span></a></sup> while <a href="/wiki/L%C3%A9on_Bonnat" title="Léon Bonnat">Léon Bonnat</a>'s stern 1892 portrait of the aging <a href="/wiki/Ernest_Renan" title="Ernest Renan">Ernest Renan</a> has been described as a "direct citation" of Ingres' portrait.<sup id="cite_ref-48" class="reference"><a href="#cite_note-48"><span class="cite-bracket">[</span>48<span class="cite-bracket">]</span></a></sup> </p> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Ralph_Vaughan_Williams_Gerald_Kelly_1952-53.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/en/thumb/c/c7/Ralph_Vaughan_Williams_Gerald_Kelly_1952-53.jpg/220px-Ralph_Vaughan_Williams_Gerald_Kelly_1952-53.jpg" decoding="async" width="220" height="181" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/c/c7/Ralph_Vaughan_Williams_Gerald_Kelly_1952-53.jpg/330px-Ralph_Vaughan_Williams_Gerald_Kelly_1952-53.jpg 1.5x, //upload.wikimedia.org/wikipedia/en/c/c7/Ralph_Vaughan_Williams_Gerald_Kelly_1952-53.jpg 2x" data-file-width="348" data-file-height="287" /></a><figcaption><i>Portrait of <a href="/wiki/Ralph_Vaughan_Williams" title="Ralph Vaughan Williams">Ralph Vaughan Williams</a></i>, <a href="/wiki/Gerald_Kelly" title="Gerald Kelly">Gerald Kelly</a>, series, 1952–53</figcaption></figure> <p>Its influence can be seen in the dismissive stare and overwhelming physical presence of the sitter in <a href="/wiki/Pablo_Picasso" title="Pablo Picasso">Pablo Picasso</a>'s 1906 <i>Portrait of Gertrude Stein</i>.<sup id="cite_ref-RR102_24-4" class="reference"><a href="#cite_note-RR102-24"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup> Picasso admired Ingres and referred to him throughout his career. His invoking of Bertin can be read as a humorous reference to, according to <a href="/wiki/Robert_Rosenblum" title="Robert Rosenblum">Robert Rosenblum</a>, "Stein's ponderous bulk and sexual preference".<sup id="cite_ref-r16_47-1" class="reference"><a href="#cite_note-r16-47"><span class="cite-bracket">[</span>47<span class="cite-bracket">]</span></a></sup> Stein does not possess Bertin's ironic stare, but is similarly dressed in black, and leans forward in an imposing manner, the painting emphasising her "massive, monumental presence".<sup id="cite_ref-49" class="reference"><a href="#cite_note-49"><span class="cite-bracket">[</span>49<span class="cite-bracket">]</span></a></sup> In 1907 the Swiss artist <a href="/wiki/F%C3%A9lix_Vallotton" title="Félix Vallotton">Félix Vallotton</a> depicted Stein, in response to Picasso, making an even more direct reference to Ingres' portrait,<sup id="cite_ref-r16_47-2" class="reference"><a href="#cite_note-r16-47"><span class="cite-bracket">[</span>47<span class="cite-bracket">]</span></a></sup> prompting <a href="/wiki/%C3%89douard_Vuillard" title="Édouard Vuillard">Édouard Vuillard</a> to exclaim, "That's Madame Bertin!"<sup id="cite_ref-50" class="reference"><a href="#cite_note-50"><span class="cite-bracket">[</span>50<span class="cite-bracket">]</span></a></sup> </p><p>The influence continued through the 20th century. <a href="/wiki/Gerald_Kelly" title="Gerald Kelly">Gerald Kelly</a> recalled Bertin when painting his restless and confined series of portraits of <a href="/wiki/Ralph_Vaughan_Williams" title="Ralph Vaughan Williams">Ralph Vaughan Williams</a> between 1952 and 1961.<sup id="cite_ref-51" class="reference"><a href="#cite_note-51"><span class="cite-bracket">[</span>51<span class="cite-bracket">]</span></a></sup> In 1975 <a href="/wiki/Marcel_Broodthaers" title="Marcel Broodthaers">Marcel Broodthaers</a> produced a series of nine black and white photographs on board based on Ingres' portraits of Bertin and <a href="/wiki/Mademoiselle_Caroline_Rivi%C3%A8re" title="Mademoiselle Caroline Rivière">Mademoiselle Caroline Rivière</a>.<sup id="cite_ref-52" class="reference"><a href="#cite_note-52"><span class="cite-bracket">[</span>52<span class="cite-bracket">]</span></a></sup> </p> <div style="clear:both;" class=""></div> <div class="mw-heading mw-heading2"><h2 id="References">References</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Portrait_of_Monsieur_Bertin&action=edit&section=7" title="Edit section: References"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="mw-heading mw-heading3"><h3 id="Notes">Notes</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Portrait_of_Monsieur_Bertin&action=edit&section=8" title="Edit section: Notes"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist reflist-columns references-column-width" style="column-width: 30em;"> <ol class="references"> <li id="cite_note-b325-1"><span class="mw-cite-backlink">^ <a href="#cite_ref-b325_1-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-b325_1-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Boime (2004), 325</span> </li> <li id="cite_note-VP-2"><span class="mw-cite-backlink">^ <a href="#cite_ref-VP_2-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-VP_2-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Pomarède (2006), 273</span> </li> <li id="cite_note-3"><span class="mw-cite-backlink"><b><a href="#cite_ref-3">^</a></b></span> <span class="reference-text">Ingres and Delécluze first met in <a href="/wiki/Jacques-Louis_David" title="Jacques-Louis David">Jacques-Louis David</a>'s studio in 1797. See Rosenblum (1999), 28</span> </li> <li id="cite_note-b156-4"><span class="mw-cite-backlink">^ <a href="#cite_ref-b156_4-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-b156_4-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-b156_4-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text">Burroughs (1946), 156</span> </li> <li id="cite_note-s318-5"><span class="mw-cite-backlink"><b><a href="#cite_ref-s318_5-0">^</a></b></span> <span class="reference-text">Shelton (1999), 318</span> </li> <li id="cite_note-s320-6"><span class="mw-cite-backlink"><b><a href="#cite_ref-s320_6-0">^</a></b></span> <span class="reference-text">Shelton (1999), 320</span> </li> <li id="cite_note-7"><span class="mw-cite-backlink"><b><a href="#cite_ref-7">^</a></b></span> <span class="reference-text">Zamoyski (2005), 8</span> </li> <li id="cite_note-8"><span class="mw-cite-backlink"><b><a href="#cite_ref-8">^</a></b></span> <span class="reference-text">Ingres' critically maligned <i><a href="/wiki/The_Martyrdom_of_Saint_Symphorian" title="The Martyrdom of Saint Symphorian">The Martyrdom of Saint Symphorian</a></i> has been described as "the perfect illustration of the system's breakdown". See Jover (2005), 180</span> </li> <li id="cite_note-9"><span class="mw-cite-backlink"><b><a href="#cite_ref-9">^</a></b></span> <span class="reference-text">Jover (2005), 180–2</span> </li> <li id="cite_note-10"><span class="mw-cite-backlink"><b><a href="#cite_ref-10">^</a></b></span> <span class="reference-text">Mongan and Naef (1967), xxi</span> </li> <li id="cite_note-R114-11"><span class="mw-cite-backlink">^ <a href="#cite_ref-R114_11-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-R114_11-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Rosenblum (1990), 114</span> </li> <li id="cite_note-12"><span class="mw-cite-backlink"><b><a href="#cite_ref-12">^</a></b></span> <span class="reference-text">Jover (2005), 183–4</span> </li> <li id="cite_note-s303-13"><span class="mw-cite-backlink">^ <a href="#cite_ref-s303_13-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-s303_13-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Shelton (1999), 303</span> </li> <li id="cite_note-14"><span class="mw-cite-backlink"><b><a href="#cite_ref-14">^</a></b></span> <span class="reference-text">Burroughs (1946), 157</span> </li> <li id="cite_note-15"><span class="mw-cite-backlink"><b><a href="#cite_ref-15">^</a></b></span> <span class="reference-text">Rifkin (2000), 142</span> </li> <li id="cite_note-16"><span class="mw-cite-backlink"><b><a href="#cite_ref-16">^</a></b></span> <span class="reference-text">Jover (2005), 182</span> </li> <li id="cite_note-17"><span class="mw-cite-backlink"><b><a href="#cite_ref-17">^</a></b></span> <span class="reference-text">Pach (1939), 74</span> </li> <li id="cite_note-Cohn_102-18"><span class="mw-cite-backlink">^ <a href="#cite_ref-Cohn_102_18-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Cohn_102_18-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Cohn; Siegfried (1980), 102</span> </li> <li id="cite_note-19"><span class="mw-cite-backlink"><b><a href="#cite_ref-19">^</a></b></span> <span class="reference-text">Shelton (1999), 302</span> </li> <li id="cite_note-20"><span class="mw-cite-backlink"><b><a href="#cite_ref-20">^</a></b></span> <span class="reference-text">Rifkin (2000), 143</span> </li> <li id="cite_note-21"><span class="mw-cite-backlink"><b><a href="#cite_ref-21">^</a></b></span> <span class="reference-text">In another version of the story, Ingres saw Amaury Duval take up the pose. See Rosenblum (1990), 102</span> </li> <li id="cite_note-22"><span class="mw-cite-backlink"><b><a href="#cite_ref-22">^</a></b></span> <span class="reference-text">Rifkin (2000), 130</span> </li> <li id="cite_note-23"><span class="mw-cite-backlink"><b><a href="#cite_ref-23">^</a></b></span> <span class="reference-text">Tinterow; Conisbee (1999), 306</span> </li> <li id="cite_note-RR102-24"><span class="mw-cite-backlink">^ <a href="#cite_ref-RR102_24-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-RR102_24-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-RR102_24-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-RR102_24-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-RR102_24-4"><sup><i><b>e</b></i></sup></a></span> <span class="reference-text">Rosenblum (1990), 102</span> </li> <li id="cite_note-25"><span class="mw-cite-backlink"><b><a href="#cite_ref-25">^</a></b></span> <span class="reference-text">Rifkin (2000), 141</span> </li> <li id="cite_note-garb32-26"><span class="mw-cite-backlink"><b><a href="#cite_ref-garb32_26-0">^</a></b></span> <span class="reference-text">Garb (2007), 32</span> </li> <li id="cite_note-MdL-27"><span class="mw-cite-backlink"><b><a href="#cite_ref-MdL_27-0">^</a></b></span> <span class="reference-text">"<a rel="nofollow" class="external text" href="http://musee.louvre.fr/oal/bertin/bertin.swf?..//?en">Louis-François Bertin</a>. <a href="/wiki/Mus%C3%A9e_du_Louvre" class="mw-redirect" title="Musée du Louvre">Musée du Louvre</a>. Retrieved 17 January 2015</span> </li> <li id="cite_note-28"><span class="mw-cite-backlink"><b><a href="#cite_ref-28">^</a></b></span> <span class="reference-text">Jover (2005), 184</span> </li> <li id="cite_note-29"><span class="mw-cite-backlink"><b><a href="#cite_ref-29">^</a></b></span> <span class="reference-text">Rosenblum (1990), 31</span> </li> <li id="cite_note-30"><span class="mw-cite-backlink"><b><a href="#cite_ref-30">^</a></b></span> <span class="reference-text">Pach (1939), 13</span> </li> <li id="cite_note-r6-31"><span class="mw-cite-backlink"><b><a href="#cite_ref-r6_31-0">^</a></b></span> <span class="reference-text">Rosenblum (1999), 6</span> </li> <li id="cite_note-RSL-32"><span class="mw-cite-backlink"><b><a href="#cite_ref-RSL_32-0">^</a></b></span> <span class="reference-text">Lubar, Robert. "Unmasking Pablo's Gertrude: Queen Desire and the Subject of Portraiture". <i>The Art Bulletin</i>, volume 79, nr. 1, 1997</span> </li> <li id="cite_note-G154-33"><span class="mw-cite-backlink"><b><a href="#cite_ref-G154_33-0">^</a></b></span> <span class="reference-text">Garb (2007), 154</span> </li> <li id="cite_note-34"><span class="mw-cite-backlink"><b><a href="#cite_ref-34">^</a></b></span> <span class="reference-text">Toussaint (1985), 72</span> </li> <li id="cite_note-cs305-35"><span class="mw-cite-backlink"><b><a href="#cite_ref-cs305_35-0">^</a></b></span> <span class="reference-text">Shelton (1999), 305</span> </li> <li id="cite_note-36"><span class="mw-cite-backlink"><b><a href="#cite_ref-36">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="https://www.npg.org.uk/research/programmes/the-art-of-the-picture-frame/artist-ingres">Notes on frames in the exhibition, Portraits by Ingres</a>, National Portrait Gallery, February 1999</span> </li> <li id="cite_note-37"><span class="mw-cite-backlink"><b><a href="#cite_ref-37">^</a></b></span> <span class="reference-text">Jover (2005), 216</span> </li> <li id="cite_note-cs304-38"><span class="mw-cite-backlink">^ <a href="#cite_ref-cs304_38-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-cs304_38-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-cs304_38-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text">Shelton (1999), 304</span> </li> <li id="cite_note-s503-39"><span class="mw-cite-backlink"><b><a href="#cite_ref-s503_39-0">^</a></b></span> <span class="reference-text">Shelton (1999), 503</span> </li> <li id="cite_note-cs306-40"><span class="mw-cite-backlink">^ <a href="#cite_ref-cs306_40-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-cs306_40-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Shelton (1999), 306</span> </li> <li id="cite_note-41"><span class="mw-cite-backlink"><b><a href="#cite_ref-41">^</a></b></span> <span class="reference-text">Shelton (1999), 303–4</span> </li> <li id="cite_note-42"><span class="mw-cite-backlink"><b><a href="#cite_ref-42">^</a></b></span> <span class="reference-text">Shelton (1999), 304–5</span> </li> <li id="cite_note-43"><span class="mw-cite-backlink"><b><a href="#cite_ref-43">^</a></b></span> <span class="reference-text">Shelton (2005), 234</span> </li> <li id="cite_note-Pelles,_82-44"><span class="mw-cite-backlink">^ <a href="#cite_ref-Pelles,_82_44-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Pelles,_82_44-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Pelles (1963), 82</span> </li> <li id="cite_note-45"><span class="mw-cite-backlink"><b><a href="#cite_ref-45">^</a></b></span> <span class="reference-text">Mongan and Naef (1967), opposite plate 62</span> </li> <li id="cite_note-s504-5-46"><span class="mw-cite-backlink"><b><a href="#cite_ref-s504-5_46-0">^</a></b></span> <span class="reference-text">Sterling (1999), 504–5</span> </li> <li id="cite_note-r16-47"><span class="mw-cite-backlink">^ <a href="#cite_ref-r16_47-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-r16_47-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-r16_47-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text">Rosenblum (1999), 16</span> </li> <li id="cite_note-48"><span class="mw-cite-backlink"><b><a href="#cite_ref-48">^</a></b></span> <span class="reference-text">"<a rel="nofollow" class="external text" href="http://musee.louvre.fr/oal/bertin/bertin.swf?..//?en">Bertin, a newspaper magnate</a>". Musée du Louvre. Retrieved 1 February 2015</span> </li> <li id="cite_note-49"><span class="mw-cite-backlink"><b><a href="#cite_ref-49">^</a></b></span> <span class="reference-text">Giroud (2007), 23</span> </li> <li id="cite_note-50"><span class="mw-cite-backlink"><b><a href="#cite_ref-50">^</a></b></span> <span class="reference-text">Newman et al. (1991), 118</span> </li> <li id="cite_note-51"><span class="mw-cite-backlink"><b><a href="#cite_ref-51">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="http://www.npg.org.uk/assets/files/pdf/learning/NPG_20C_portraits.pdf">"Twelve Twentieth-Century Portraits"</a>. <a href="/wiki/National_Portrait_Gallery,_London" title="National Portrait Gallery, London">National Portrait Gallery</a>. Retrieved 6 February 2015</span> </li> <li id="cite_note-52"><span class="mw-cite-backlink"><b><a href="#cite_ref-52">^</a></b></span> <span class="reference-text">"<a rel="nofollow" class="external text" href="http://www.tate.org.uk/art/artworks/broodthaers-mademoiselle-riviere-and-monsieur-bertin-t01977">Mademoiselle Rivière and Monsieur Bertin 1975</a>". <a href="/wiki/Tate_Modern" title="Tate Modern">Tate Modern</a>. Retrieved 1 February 2015</span> </li> </ol></div> <div class="mw-heading mw-heading3"><h3 id="Bibliography">Bibliography</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Portrait_of_Monsieur_Bertin&action=edit&section=9" title="Edit section: Bibliography"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1239549316">.mw-parser-output .refbegin{margin-bottom:0.5em}.mw-parser-output .refbegin-hanging-indents>ul{margin-left:0}.mw-parser-output .refbegin-hanging-indents>ul>li{margin-left:0;padding-left:3.2em;text-indent:-3.2em}.mw-parser-output .refbegin-hanging-indents ul,.mw-parser-output .refbegin-hanging-indents ul li{list-style:none}@media(max-width:720px){.mw-parser-output .refbegin-hanging-indents>ul>li{padding-left:1.6em;text-indent:-1.6em}}.mw-parser-output .refbegin-columns{margin-top:0.3em}.mw-parser-output .refbegin-columns ul{margin-top:0}.mw-parser-output .refbegin-columns li{page-break-inside:avoid;break-inside:avoid-column}@media screen{.mw-parser-output .refbegin{font-size:90%}}</style><div class="refbegin" style=""> <ul><li><a href="/wiki/Albert_Boime" title="Albert Boime">Boime, Albert</a>. <i>Art in an Age of Counterrevolution, 1815–1848</i>. Chicago: University of Chicago Press, 2004. <style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-226-06337-9" title="Special:BookSources/978-0-226-06337-9">978-0-226-06337-9</a></li> <li>Burroughs, Louise. "Drawings by Ingres". <i>The Metropolitan Museum of Art Bulletin</i>, volume 4, no. 6, 1946</li> <li>Cohn, Marjorie; Siegfried, Susan. <i>Works by J.-A.-D. Ingres in the collection of the Fogg Art Museum</i>. Cambridge, MA: Fogg Art Museum, Harvard University, 1980. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://www.worldcat.org/oclc/6762670">6762670</a></li> <li><a href="/wiki/Garb,_Tamar" class="mw-redirect" title="Garb, Tamar">Garb, Tamar</a>. <i>The Painted Face, Portraits of Women in France, 1814–1914</i>. New Haven, CT: Yale University Press, 2007. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-300-11118-7" title="Special:BookSources/978-0-300-11118-7">978-0-300-11118-7</a></li> <li>Giroud, Vincent. <i>Picasso and Gertrude Stein</i>. New York: Metropolitan Museum of Art, 2007. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-58839-210-7" title="Special:BookSources/978-1-58839-210-7">978-1-58839-210-7</a></li> <li>Jover, Manuel. <i>Ingres</i>. Bologna: Terrail, 2005. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-2-87939-289-9" title="Special:BookSources/978-2-87939-289-9">978-2-87939-289-9</a></li> <li>Mongan, Agnes; Naef, Hans. <i>Ingres Centennial Exhibition 1867–1967: Drawings, Watercolors, and Oil Sketches from American Collections</i>. Greenwich, CT: Distributed by New York Graphic Society, 1967. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://www.worldcat.org/oclc/170576">170576</a></li> <li>Newman, Sasha; Vallotton, Félix; Ducrey, Marina; Baier, Lesley. <i>Félix Vallotton</i>. New Haven: Yale University Art Gallery, 1991. 118. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-55859-312-1" title="Special:BookSources/978-1-55859-312-1">978-1-55859-312-1</a></li> <li>Pach, Walter. <i>Ingres</i>. New York: Harper & Brothers, 1939. <a href="/wiki/Amazon_Standard_Identification_Number" title="Amazon Standard Identification Number">ASIN</a> <a rel="nofollow" class="external text" href="https://www.amazon.com/dp/B004XFFC1A">B004XFFC1A</a></li> <li>Pelles, Geraldine. <i>Art, Artists and Society: Origins of a Modern Dilemma; Painting in England and France, 1750–1850</i>. Englewood Cliffs, NJ: Prentice-Hall, 1963</li> <li>Pomarède, Vincent (ed). <i>Ingres: 1780–1867</i>. Paris: Gallimard, 2006. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-2-07-011843-4" title="Special:BookSources/978-2-07-011843-4">978-2-07-011843-4</a></li> <li>Rifkin, Adrian. <i>Ingres: Then and Now</i>. New York: Routledge, 2000. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-415-06697-6" title="Special:BookSources/978-0-415-06697-6">978-0-415-06697-6</a></li> <li><a href="/wiki/Robert_Rosenblum" title="Robert Rosenblum">Rosenblum, Robert</a>. <i>Ingres</i>. London: Harry N. Abrams, 1990. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-300-08653-9" title="Special:BookSources/978-0-300-08653-9">978-0-300-08653-9</a></li> <li>Rosenblum, Robert. "Ingres's Portraits and their Muses". In: Tinterow, Gary; Conisbee, Philip (eds). <i>Portraits by Ingres: Image of an Epoch</i>. New York: Metropolitan Museum of Art, 1999. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-300-08653-9" title="Special:BookSources/978-0-300-08653-9">978-0-300-08653-9</a></li> <li>Shelton, Andrew Carrington. <i>Ingres and His Critics</i>. Cambridge: Cambridge University Press, 2005. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-521-84243-3" title="Special:BookSources/978-0-521-84243-3">978-0-521-84243-3</a></li> <li>Shelton, Andrew Carrington. "Ingres: Paris 1824–1834". In: Tinterow, Gary; Conisbee, Philip (eds). <i>Portraits by Ingres: Image of an Epoch</i>. New York: Metropolitan Museum of Art, 1999. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-300-08653-9" title="Special:BookSources/978-0-300-08653-9">978-0-300-08653-9</a></li> <li>Siegfried, Susan; Rifkin, Adrian. <i>Fingering Ingres</i>. Hoboken, NJ: Wiley-Blackwell, 2001. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-631-22526-3" title="Special:BookSources/978-0-631-22526-3">978-0-631-22526-3</a></li> <li>Toussaint, Hélène. <i>Les Portraits d'Ingres: peintures des musées nationaux</i>. Paris: Réunion des musées nationaux, 1985. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-2-7118-0298-2" title="Special:BookSources/978-2-7118-0298-2">978-2-7118-0298-2</a></li> <li>Zamoyski, Adam. <i>1812, Napoleon's Fatal March on Moscow</i>. London: Harper Perennial, 2005. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-00-712374-2" title="Special:BookSources/978-0-00-712374-2">978-0-00-712374-2</a></li></ul> </div> <div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Portrait_of_Monsieur_Bertin&action=edit&section=10" title="Edit section: External links"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1235681985">.mw-parser-output .side-box{margin:4px 0;box-sizing:border-box;border:1px solid #aaa;font-size:88%;line-height:1.25em;background-color:var(--background-color-interactive-subtle,#f8f9fa);display:flow-root}.mw-parser-output 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Ingres"><abbr title="View this template">v</abbr></a></li><li class="nv-talk"><a href="/wiki/Template_talk:Jean_Auguste_Dominique_Ingres" title="Template talk:Jean Auguste Dominique Ingres"><abbr title="Discuss this template">t</abbr></a></li><li class="nv-edit"><a href="/wiki/Special:EditPage/Template:Jean_Auguste_Dominique_Ingres" title="Special:EditPage/Template:Jean Auguste Dominique Ingres"><abbr title="Edit this template">e</abbr></a></li></ul></div><div id="Jean-Auguste-Dominique_Ingres" style="font-size:114%;margin:0 4em"><a href="/wiki/Jean-Auguste-Dominique_Ingres" title="Jean-Auguste-Dominique Ingres">Jean-Auguste-Dominique Ingres</a></div></th></tr><tr><td class="navbox-abovebelow" colspan="3" style="background: #e0d3bc"><div><a href="/wiki/List_of_paintings_by_Jean-Auguste-Dominique_Ingres" title="List of paintings by Jean-Auguste-Dominique Ingres">List of paintings</a></div></td></tr><tr><th scope="row" class="navbox-group" style="background: #e0d3bc;width:1%;background: #f3e9d4">History <br />paintings</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><i><a href="/wiki/The_Ambassadors_of_Agamemnon_in_the_tent_of_Achilles" title="The Ambassadors of Agamemnon in the tent of Achilles">The Ambassadors of Agamemnon in the tent of Achilles</a></i> (1801)</li> <li><i><a href="/wiki/Oedipus_and_the_Sphinx_(Ingres)" title="Oedipus and the Sphinx (Ingres)">Oedipus and the Sphinx</a></i> (1808)</li> <li><i><a href="/wiki/Jupiter_and_Thetis" title="Jupiter and Thetis">Jupiter and Thetis</a></i> (1811)</li> <li><i><a href="/wiki/Romulus%27_Victory_Over_Acron" title="Romulus' Victory Over Acron">Romulus' Victory Over Acron</a></i> (1812)</li> <li><i><a href="/wiki/Virgil_reading_The_Aeneid_before_Augustus,_Livia_and_Octavia" title="Virgil reading The Aeneid before Augustus, Livia and Octavia">Virgil reading The Aeneid before Augustus, Livia and Octavia</a></i> (1812)</li> <li><i><a href="/wiki/The_Dream_of_Ossian" title="The Dream of Ossian">The Dream of Ossian</a></i> (1813)</li> <li><i><a href="/wiki/Raphael_and_La_Fornarina" title="Raphael and La Fornarina">Raphael and La Fornarina</a></i> (1813)</li> <li><i><a href="/wiki/Paolo_and_Francesca_(Ingres)" title="Paolo and Francesca (Ingres)">Paolo and Francesca</a></i> (1814–1819)</li> <li><i><a href="/wiki/Don_Pedro_of_Toledo_Kissing_Henry_IV%27s_Sword" title="Don Pedro of Toledo Kissing Henry IV's Sword">Don Pedro of Toledo Kissing Henry IV's Sword</a></i> (1814)</li> <li><i><a href="/wiki/Pope_Pius_VII_in_the_Sistine_Chapel" title="Pope Pius VII in the Sistine Chapel">Pope Pius VII in the Sistine Chapel</a></i> (1814)</li> <li><i><a href="/wiki/Aretino_and_Charles_V%27s_Ambassador" title="Aretino and Charles V's Ambassador">Aretino and Charles V's Ambassador</a></i> (1815)</li> <li><i><a href="/wiki/Henry_IV_Receiving_the_Spanish_Ambassador" title="Henry IV Receiving the Spanish Ambassador">Henry IV Receiving the Spanish Ambassador</a></i> (1817)</li> <li><i><a href="/wiki/The_Death_of_Leonardo_da_Vinci" title="The Death of Leonardo da Vinci">The Death of Leonardo da Vinci</a></i> (1818)</li> <li><i><a href="/wiki/Roger_Freeing_Angelica_(Ingres)" title="Roger Freeing Angelica (Ingres)">Roger Freeing Angelica</a></i> (1819)</li> <li><i><a href="/wiki/The_Dauphin%27s_Entry_Into_Paris" title="The Dauphin's Entry Into Paris">The Dauphin's Entry Into Paris</a></i> (1821)</li> <li><i><a href="/wiki/The_Vow_of_Louis_XIII" title="The Vow of Louis XIII">The Vow of Louis XIII</a></i> (1824)</li> <li><i><a href="/wiki/The_Apotheosis_of_Homer_(Ingres)" title="The Apotheosis of Homer (Ingres)">The Apotheosis of Homer</a></i> (1827)</li> <li><i><a href="/wiki/The_Martyrdom_of_Saint_Symphorian" title="The Martyrdom of Saint Symphorian">The Martyrdom of Saint Symphorian</a></i> (1834)</li> <li><i><a href="/wiki/The_Illness_of_Antiochus" title="The Illness of Antiochus">The Illness of Antiochus</a></i> (1840)</li> <li><i><a href="/wiki/The_Odyssey_(painting)" title="The Odyssey (painting)">The Odyssey</a></i> (1850)</li> <li><i><a href="/wiki/Joan_of_Arc_at_the_Coronation_of_Charles_VII" title="Joan of Arc at the Coronation of Charles VII">Joan of Arc at the Coronation of Charles VII</a></i> (1854)</li></ul> </div></td><td class="noviewer navbox-image" rowspan="5" style="width:1px;padding:0 0 0 2px"><div><span typeof="mw:File"><a href="/wiki/Self-Portrait_(Ingres)" title="Self-Portrait (Ingres)"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/1/10/Kmska_Jean_Auguste_Dominique_Ingres_%281780-1867%29_-_Zelfportret_%281864%29_-_28-02-2010_13-37-05.jpg/75px-Kmska_Jean_Auguste_Dominique_Ingres_%281780-1867%29_-_Zelfportret_%281864%29_-_28-02-2010_13-37-05.jpg" decoding="async" width="75" height="92" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/1/10/Kmska_Jean_Auguste_Dominique_Ingres_%281780-1867%29_-_Zelfportret_%281864%29_-_28-02-2010_13-37-05.jpg/113px-Kmska_Jean_Auguste_Dominique_Ingres_%281780-1867%29_-_Zelfportret_%281864%29_-_28-02-2010_13-37-05.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/1/10/Kmska_Jean_Auguste_Dominique_Ingres_%281780-1867%29_-_Zelfportret_%281864%29_-_28-02-2010_13-37-05.jpg/150px-Kmska_Jean_Auguste_Dominique_Ingres_%281780-1867%29_-_Zelfportret_%281864%29_-_28-02-2010_13-37-05.jpg 2x" data-file-width="1312" data-file-height="1602" /></a></span></div></td></tr><tr><th scope="row" class="navbox-group" style="background: #e0d3bc;width:1%;background: #f3e9d4">Nudes</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0;background: #fefcf6"><div style="padding:0 0.25em"> <ul><li><i><a href="/wiki/The_Half-Length_Bather" title="The Half-Length Bather">The Half-Length Bather</a></i> (1807)</li> <li><i><a href="/wiki/The_Valpin%C3%A7on_Bather" title="The Valpinçon Bather">The Valpinçon Bather</a></i> (1808)</li> <li><i><a href="/wiki/La_Dormeuse_de_Naples_(painting)" title="La Dormeuse de Naples (painting)">La Dormeuse de Naples</a></i> (1809)</li> <li><i><a href="/wiki/Grande_Odalisque" title="Grande Odalisque">Grande Odalisque</a></i> (1814)</li> <li><i><a href="/wiki/The_Source_(Ingres)" title="The Source (Ingres)">The Source</a></i> (c 1820)</li> <li><i><a href="/wiki/Odalisque_with_Slave" title="Odalisque with Slave">Odalisque with Slave</a></i> (1842)</li> <li><i><a href="/wiki/Venus_Anadyomene_(Ingres)" title="Venus Anadyomene (Ingres)">Venus Anadyomene</a></i> (1848)</li> <li><i><a href="/wiki/The_Turkish_Bath" title="The Turkish Bath">The Turkish Bath</a></i> (1863)</li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="background: #e0d3bc;width:1%;background: #f3e9d4">Portraits</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><i><a href="/wiki/Bonaparte,_First_Consul" title="Bonaparte, First Consul">Bonaparte, First Consul</a></i> (1804)</li> <li><i><a href="/wiki/Portrait_of_Philibert_Rivi%C3%A8re" title="Portrait of Philibert Rivière">Portrait of Philibert Rivière</a></i> (1805)</li> <li><i><a href="/wiki/Portrait_of_Marie-Fran%C3%A7oise_Rivi%C3%A8re" title="Portrait of Marie-Françoise Rivière">Portrait of Marie-Françoise Rivière</a></i> (1805–06)</li> <li><i><a href="/wiki/Mademoiselle_Caroline_Rivi%C3%A8re" title="Mademoiselle Caroline Rivière">Mademoiselle Caroline Rivière</a></i> (1806)</li> <li><i><a href="/wiki/Napoleon_I_on_His_Imperial_Throne" title="Napoleon I on His Imperial Throne">Napoleon I on His Imperial Throne</a></i> (1806)</li> <li><i><a href="/wiki/La_Belle_Z%C3%A9lie" title="La Belle Zélie">La Belle Zélie</a></i> (1806)</li> <li><i><a href="/wiki/Portrait_of_Madame_Duvaucey" title="Portrait of Madame Duvaucey">Portrait of Madame Duvaucey</a></i> (1807)</li> <li><i><a href="/wiki/Portrait_of_Charles_Marcotte" title="Portrait of Charles Marcotte">Portrait of Charles Marcotte</a></i> (1810)</li> <li><i><a href="/wiki/Portrait_of_Paul_Lemoyne" title="Portrait of Paul Lemoyne">Portrait of Paul Lemoyne</a></i> (1811)</li> <li><i><a href="/wiki/Portrait_of_Madame_de_Senonnes" title="Portrait of Madame de Senonnes">Portrait of Madame de Senonnes</a></i> (1814)</li> <li><i><a href="/wiki/Portrait_of_Caroline_Murat,_Queen_of_Naples" title="Portrait of Caroline Murat, Queen of Naples">Portrait of Caroline Murat, Queen of Naples</a></i> (1814)</li> <li><i><a href="/wiki/Portrait_of_Madame_Jacques-Louis_Leblanc" title="Portrait of Madame Jacques-Louis Leblanc">Portrait of Madame Jacques-Louis Leblanc</a></i> (1823)</li> <li><i><a href="/wiki/Portrait_of_Madame_Marcotte_de_Sainte-Marie" title="Portrait of Madame Marcotte de Sainte-Marie">Portrait of Madame Marcotte de Sainte-Marie</a></i> (1826)</li> <li><i><a href="/wiki/Portrait_of_Am%C3%A9d%C3%A9e_de_Pastoret" title="Portrait of Amédée de Pastoret">Portrait of Amédée de Pastoret</a></i> (1826)</li> <li><i><a class="mw-selflink selflink">Portrait of Monsieur Bertin</a></i> (1832)</li> <li><i><a href="/wiki/Portrait_of_Louis-Mathieu_Mol%C3%A9" title="Portrait of Louis-Mathieu Molé">Portrait of Louis-Mathieu Molé</a></i> (1834)</li> <li><i><a href="/wiki/Luigi_Cherubini_and_the_Muse_of_Lyric_Poetry" title="Luigi Cherubini and the Muse of Lyric Poetry">Luigi Cherubini and the Muse of Lyric Poetry</a></i> (1842)</li> <li><i><a href="/wiki/Portrait_of_Comtesse_d%27Haussonville" title="Portrait of Comtesse d'Haussonville">Portrait of Comtesse d'Haussonville</a></i> (1845)</li> <li><i><a href="/wiki/Portrait_of_Baronne_de_Rothschild" title="Portrait of Baronne de Rothschild">Portrait of Baronne de Rothschild</a></i> (1848)</li> <li><i><a href="/wiki/Portrait_of_Madame_Moitessier" title="Portrait of Madame Moitessier">Portrait of Madame Moitessier</a></i> (1844–1856)</li> <li><i><a href="/wiki/The_Princesse_de_Broglie" title="The Princesse de Broglie">The Princesse de Broglie</a></i> (1851–1853)</li> <li><i><a href="/wiki/Portrait_of_Madame_Ingres" title="Portrait of Madame Ingres">Portrait of Madame Ingres</a></i> (1859)</li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="background: #e0d3bc;width:1%;background: #f3e9d4">Self-portraits</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0;background: #fefcf6"><div style="padding:0 0.25em"> <ul><li><i><a href="/wiki/Self-Portrait_Aged_24" title="Self-Portrait Aged 24">Self-Portrait Aged 24</a></i> (1806)</li> <li><i><a href="/wiki/Self-Portrait_at_Seventy-Eight_(Ingres)" title="Self-Portrait at Seventy-Eight (Ingres)">Self-Portrait at Seventy-Eight</a></i> (1858)</li> <li><i><a href="/wiki/Self-Portrait_(Ingres)" title="Self-Portrait (Ingres)">Antwerp Self-Portrait</a></i> (1864–1865)</li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="background: #e0d3bc;width:1%;background: #f3e9d4">Museums</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Mus%C3%A9e_Ingres_Bourdelle" title="Musée Ingres Bourdelle">Musée Ingres Bourdelle</a></li></ul> </div></td></tr></tbody></table></div> <div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236075235"><style data-mw-deduplicate="TemplateStyles:r1038841319">.mw-parser-output .tooltip-dotted{border-bottom:1px dotted;cursor:help}</style></div><div role="navigation" class="navbox authority-control" 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navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><span class="uid"><span class="rt-commentedText tooltip tooltip-dotted" title="Bertin aîné"><a rel="nofollow" class="external text" href="https://d-nb.info/gnd/4542026-9">Germany</a></span></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://id.loc.gov/authorities/n99055444">United States</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://catalogue.bnf.fr/ark:/12148/cb13507029v">France</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://data.bnf.fr/ark:/12148/cb13507029v">BnF data</a></span></li></ul></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Other</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><span class="uid"><a rel="nofollow" class="external text" href="https://www.idref.fr/050222953">IdRef</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://www.pop.culture.gouv.fr/notice/joconde/000PE001559">Joconde</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://id.bildindex.de/thing/0001228128">Bildindex</a></span></li></ul></div></td></tr></tbody></table></div>    </div><noscript><img src="https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?useformat=desktop&type=1x1&usesul3=0" alt="" width="1" height="1" style="border: none; position: absolute;"></noscript> <div class="printfooter" data-nosnippet="">Retrieved from "<a dir="ltr" href="https://en.wikipedia.org/w/index.php?title=Portrait_of_Monsieur_Bertin&oldid=1269929650">https://en.wikipedia.org/w/index.php?title=Portrait_of_Monsieur_Bertin&oldid=1269929650</a>"</div></div> <div id="catlinks" class="catlinks" data-mw="interface"><div id="mw-normal-catlinks" class="mw-normal-catlinks"><a 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