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The research and writing of the dissertation from which this book was derived were supported by the Institute of Fine Arts as well as\u0026nbsp;..."},{"page_id":"PA16","page_number":"16","snippet_text":"... \u003cb\u003eIngres\u003c/b\u003e was subjected to a panoply of critical opinion of unprecedented diversity and scope , as the writing on Saint Symphorien ran the gamut from fawningly adulatory to insultingly belligerent , from pompously earnest to mischievously\u0026nbsp;..."},{"page_id":"PA21","page_number":"21","snippet_text":"... \u003cb\u003eIngres\u0026#39;s\u003c/b\u003e already overstuffed painting , although the artist managed to refer to Symphorien\u0026#39;s final refusal to participate in the heathen rite via the configuration of details at lower- left , where an overturned tripod lies before\u0026nbsp;..."},{"page_id":"PA22","page_number":"22","snippet_text":"... \u003cb\u003eIngres\u003c/b\u003e again wrote to Gilibert in March of that year : \u0026quot; What general blindness ! Several Cassandras try in vain to make their prophetic voices heard , but everyone is deaf . Self - interest , ego , and treason reign . What prospects\u0026nbsp;..."},{"page_id":"PA24","page_number":"24","snippet_text":"... \u003cb\u003eIngres\u003c/b\u003e . As for reviews appearing in journals supporting Louis - Philippe , opinion was evenly divided , with six articles expressing admiration for Saint Symphorien and six others denouncing it . It would therefore appear that the\u0026nbsp;..."},{"page_id":"PA25","page_number":"25","snippet_text":"... Nothing of value , when all is said and done , at least nothing real or substantial . There is nothing left for M. \u003cb\u003eIngres\u003c/b\u003e to do but to present his painting to us as the best of schools Le Martyre de Saint Symphorien at the 1834 Salon 25."},{"page_id":"PA27","page_number":"27","snippet_text":"... \u003cb\u003eIngres\u0026#39;s\u003c/b\u003e painting ? Very little , to be sure , and that is precisely the point . For simply by proposing - however mockingly – this rather ludicrous analogy between the Romans \u0026#39; persecution of Christians and the Orleanists \u0026#39; pursuit of\u0026nbsp;..."},{"page_id":"PA31","page_number":"31","snippet_text":"... \u003cb\u003eIngres\u003c/b\u003e versus Monsieur Delacroix . In 1834 critics demonstrated \u003cb\u003eIngres\u0026#39;s\u003c/b\u003e increasingly extremist position vis - à - vis the line - versus - color controversy by pointing to the dull , gray - brown tonalities dominating Saint Symphorien\u0026nbsp;..."},{"page_id":"PA33","page_number":"33","snippet_text":"... \u003cb\u003eIngres\u003c/b\u003e was interested in establishing just such an opposition is suggested not only by the Herculean proportions of the lictors but also by the no less emphatic frailty of Symphorien , whose delicate body type offers a point - for\u0026nbsp;..."},{"page_id":"PA37","page_number":"37","snippet_text":"... \u003cb\u003eIngres\u0026#39;s\u003c/b\u003e painting . We have already heard the reviewer for the reactionary Gazette de France liken the events depicted in Saint Symphorien to modern revolutionary violence . That similar parallels lurked in the minds of other critics is\u0026nbsp;..."},{"page_id":"PA45","page_number":"45","snippet_text":"... \u003cb\u003eIngres\u0026#39;s\u003c/b\u003e Augusta on the other . Acceptable forms of female heroism , it would seem , fell in between these two extremes , somewhere in the ever - elusive juste milieu . Significantly , the only critic to offer an unreservedly positive\u0026nbsp;..."},{"page_id":"PA48","page_number":"48","snippet_text":"... \u003cb\u003eIngres\u0026#39;s\u003c/b\u003e manner were given an overtly political interpretation by Philippe Buchez , former Saint - Simonian turned ... \u003cb\u003eIngres\u003c/b\u003e paints a great scene of Christian devotion ; but it\u0026#39;s not the magnificence of this devotion that he\u0026nbsp;..."},{"page_id":"PA50","page_number":"50","snippet_text":"... \u003cb\u003eIngres\u003c/b\u003e submitted two works , the soon - to - be famous Louis - François Bertin ( Fig . 40 ) , signed and dated 1832 , and a picture that had been created over a ... \u003cb\u003eIngres\u003c/b\u003e , Madame Leblanc , 1823 ( 1834. 50 \u003cb\u003eIngres\u003c/b\u003e and His Critics."},{"page_id":"PA52","page_number":"52","snippet_text":"... \u003cb\u003eIngres\u0026#39;s\u003c/b\u003e unorthodox exhibition strategies threatened to undermine the col- lective , national character of the Salon . As we have already seen , the advanced billing his paintings received from ingriste party faithful prompted\u0026nbsp;..."},{"page_id":"PA54","page_number":"54","snippet_text":"... \u003cb\u003eIngres\u0026#39;s\u003c/b\u003e arrival in that coastal city . \u0026#39; There is no better gauge of the extent of the painter\u0026#39;s desperation over the hostile reception of Saint Symphorien than this impromptu vacation . Unable to witness the assaults on his would - be\u0026nbsp;..."},{"page_id":"PA58","page_number":"58","snippet_text":"... \u003cb\u003eIngres\u003c/b\u003e generated ? Several of the most important contributors to \u003cb\u003eIngres\u0026#39;s\u003c/b\u003e reputation parodied in Le Corsaire are of a wholly conventional sort . That the spectacle unfolded in the courtyard of the Louvre serves as a reminder that it was\u0026nbsp;..."},{"page_id":"PA59","page_number":"59","snippet_text":"... \u003cb\u003eIngres\u003c/b\u003e played an analogously reactionary role in the realm of painting , fanatically insisting on the authority of a few canonical Old Masters while stifling all manifestations of youthful inde- pendence and originality . And indeed\u0026nbsp;..."},{"page_id":"PA60","page_number":"60","snippet_text":"... \u003cb\u003eIngres\u0026#39;s\u003c/b\u003e continued viability in the contemporary art world had come to depend on forces lying beyond the traditional institutions of artistic consecration than the fact that an organ such as La Presse could be perceived as his principal\u0026nbsp;..."},{"page_id":"PA68","page_number":"68","snippet_text":"... \u003cb\u003eIngres\u003c/b\u003e I am attempting to chart in this study have to do not only with the evolving conceptual ideal of the artist but also with the maturation of cultural journalism and the diversification of its techniques . Obviously , an entire\u0026nbsp;..."},{"page_id":"PA70","page_number":"70","snippet_text":"... \u003cb\u003eINGRES\u003c/b\u003e . And , after six years of retreat and study , he has revealed himself yet again , through a work worthy of his own previous productions , of Raphael with ... \u003cb\u003eIngres\u0026#39;s\u003c/b\u003e achievement . To pay tribute - or 70 \u003cb\u003eIngres\u003c/b\u003e and His Critics."},{"page_id":"PA76","page_number":"76","snippet_text":"... \u003cb\u003eIngres\u003c/b\u003e adopted the conventions of the picture type of which Delaroche was the undisputed master - the so - called genre historique . This pictorial composite , perfectly exemplified by the Duc de Guise , featured historical subjects\u0026nbsp;..."},{"page_id":"PA78","page_number":"78","snippet_text":"... \u003cb\u003eIngres\u0026#39;s\u003c/b\u003e extreme conscientiousness in replicating even the tiniest details of the natural world that led to the visual overload of which his critics complained . After comparing the kind of unrelenting exactitude resulting from \u003cb\u003eIngres\u0026#39;s\u003c/b\u003e\u0026nbsp;..."},{"page_id":"PA79","page_number":"79","snippet_text":"... \u003cb\u003eIngres\u003c/b\u003e was just as mystifying as his intuitive connection to Phidias and Raphael . Thus , although tortured and strained to the breaking point , the critic\u0026#39;s analysis is not wholly devoid of logic . Exactly what was at stake in this\u0026nbsp;..."},{"page_id":"PA86","page_number":"86","snippet_text":"... \u003cb\u003eIngres\u003c/b\u003e was not the first to engage in this process , nor was he its most impor- tant representative . Vernet , Delaroche , and countless other practitioners of the ever more popular genre historique had been doing this kind of thing far\u0026nbsp;..."},{"page_id":"PA93","page_number":"93","snippet_text":"... \u003cb\u003eIngres\u003c/b\u003e , not as a great painter , of which I know nothing , but because you are a good - natured bloke and because your life hasn\u0026#39;t been all that bad . ( Applause from Préault . ) RESPONSE OF THE MESSIAH My friends , my dear friends\u0026nbsp;..."},{"page_id":"PA98","page_number":"98","snippet_text":"... \u003cb\u003eIngres\u003c/b\u003e was no stranger to these efforts . For even though the artist himself would accumulate a decidedly spotty record as a muralist , pupils from his atelier figured among the most important players in the decorative revival of the\u0026nbsp;..."},{"page_id":"PA100","page_number":"100","snippet_text":"... \u003cb\u003eIngres\u0026#39;s\u003c/b\u003e withdrawal in 1834. Certainly the most notable of these was Paul Delaroche , whose last Salon was in 1837. Like \u003cb\u003eIngres\u003c/b\u003e , Delaroche had been hounded by the critics , many of whom did not share the general pub- lic\u0026#39;s enthusiasm\u0026nbsp;..."},{"page_id":"PA103","page_number":"103","snippet_text":"... \u003cb\u003eIngres\u003c/b\u003e is likewise reduced to a pro- ducer of high - end vulgarities - works of dubious aesthetic quality that , thanks to the blinding effects of a well - oiled publicity machine , had assumed the guise of priceless treasures . In\u0026nbsp;..."},{"page_id":"PA104","page_number":"104","snippet_text":"... \u003cb\u003eIngres\u0026#39;s\u003c/b\u003e development of a more vigorous , full - bodied manner , the issue that most dominated critical dis- cussion of La Vierge à l\u0026#39;Hostie was its Raphaelism . Indeed , the general percep- tion of the painting\u0026#39;s indebtedness to the\u0026nbsp;..."},{"page_id":"PA105","page_number":"105","snippet_text":"... \u003cb\u003eIngres\u0026#39;s\u003c/b\u003e painting by the positioning of the wafer , which hovers magically above the paten situated atop the chalice.88 I would suggest that \u003cb\u003eIngres\u003c/b\u003e aspired to provide a kind. 25. Anonymous , Mother of God of the Sign , 17th Century\u0026nbsp;..."},{"page_id":"PA109","page_number":"109","snippet_text":"... \u003cb\u003eIngres\u003c/b\u003e has added the animation of the Host , a motif Lenor- mant traces back to Raphael\u0026#39;s Mass at Bolsena . The critic identifies an even more ancient source for the figures of the two attending saints - classical represen- tations of\u0026nbsp;..."},{"page_id":"PA113","page_number":"113","snippet_text":"... \u003cb\u003eIngres\u003c/b\u003e . There are many critical impulses at work in this passage , the most notable of which is d\u0026#39;Agoult\u0026#39;s attempt to negotiate the two conflicting sides of \u003cb\u003eIngres\u0026#39;s\u003c/b\u003e public persona - the sublimely gifted creative genius and the modest\u0026nbsp;..."},{"page_id":"PA116","page_number":"116","snippet_text":"... \u003cb\u003eIngres\u003c/b\u003e was comparable to Raphael as a drafts- man , while both La Stratonice and La Vierge à l\u0026#39;Hostie offered resounding proof of the strength of his color . Cherubini confirms this latest revelation . \u0026quot; All the qualities that make up\u0026nbsp;..."},{"page_id":"PA119","page_number":"119","snippet_text":"... \u003cb\u003eIngres\u0026#39;s\u003c/b\u003e boycott of the Salon , Lenormant was nothing but positive about this latest studio exhibition . Not surprisingly , given what we have seen to be the commentator\u0026#39;s historicizing critical bent , this new - found enthusiasm\u0026nbsp;..."},{"page_id":"PA120","page_number":"120","snippet_text":"... \u003cb\u003eIngres\u0026#39;s\u003c/b\u003e initiative : \u0026quot; I recall that one could have viewed simultaneously in Raphael\u0026#39;s stu- dio The Virgin of the Chair , the Portrait of Leo X , and that of the musician of the Palais Sciarra . \u0026quot; 128 Lenormant thereby continued to\u0026nbsp;..."},{"page_id":"PA121","page_number":"121","snippet_text":"... \u003cb\u003eIngres\u003c/b\u003e realized one of his most cherished conceptions and one that had long preoccupied his spirit , \u0026quot; the critic exclaimed . \u0026quot; What distance between such a work and a commis- sioned portrait ! \u0026quot; 132 In light of Lenormant\u0026#39;s valorization\u0026nbsp;..."},{"page_id":"PA122","page_number":"122","snippet_text":"... \u003cb\u003eIngres\u003c/b\u003e is further attested to by the extent to which the most consistent and virulent attacks on the artist continued to emanate from the Left . In 1842 this charge was again led by Le Charivari ; its satirical assault on the April\u0026nbsp;..."},{"page_id":"PA123","page_number":"123","snippet_text":"... \u003cb\u003eIngres\u003c/b\u003e and his elaborate self- promotional schemes in graphic form several weeks after the appearance of this review . On May 27 , the paper published a caricature of the artist ( Fig . 28 ) , one of a series of irreverent send - ups of\u0026nbsp;..."},{"page_id":"PA127","page_number":"127","snippet_text":"... \u003cb\u003eIngres\u0026#39;s\u003c/b\u003e fame and fortune as well as the sheer com- plexity of his carefully orchestrated triumph that provided the basis for Thoré\u0026#39;s comparison of the painter and King Louis - Philippe . The latter first dreamt of ascending the throne\u0026nbsp;..."},{"page_id":"PA130","page_number":"130","snippet_text":"... in palaces of art , and worship it as if it had nothing to do with money .... If religion is the opium of the people , art is the opium of the bourgeois , and aesthetics its theology . \u0026quot; 148 Thus 130 \u003cb\u003eIngres\u003c/b\u003e and His Critics."},{"page_id":"PA133","page_number":"133","snippet_text":"... \u003cb\u003eIngres\u0026#39;s\u003c/b\u003e tal- ent , \u0026quot; deeming the disarmingly naturalistic figure of the composer \u0026quot; a masterpiece of precision , gravity , and profundity , \u0026quot; 152 he is merciless in his condemnation of the ostensibly elevating , classicizing elements of\u0026nbsp;..."},{"page_id":"PA134","page_number":"134","snippet_text":"... \u003cb\u003eIngres\u003c/b\u003e had not yet degenerated into an ossified relic - a mute representative of the exhausted conventions against which acts of artistic innovation came to define themselves . Rather , while desperately hanging on to the prerogatives\u0026nbsp;..."},{"page_id":"PA136","page_number":"136","snippet_text":"... \u003cb\u003eIngres\u003c/b\u003e around the time of his return to Paris appeared almost simultaneously in 1840 as part of larger , serialized collections of biographies of prominent contemporaries . One of these , La Galerie de la Presse , de la littérature et\u0026nbsp;..."},{"page_id":"PA141","page_number":"141","snippet_text":"... \u003cb\u003eIngres\u0026#39;s\u003c/b\u003e credentials as a chef d\u0026#39;école than with positioning him within an alter- native legitimizing scenario centered on persecution and victimization . Through- out his biography , Varnier makes much of the difficult relations\u0026nbsp;..."},{"page_id":"PA142","page_number":"142","snippet_text":"... \u003cb\u003eIngres\u003c/b\u003e versus Delacroix , classicists versus Romantics , Impression- ists versus pompier ) . Something along these lines is precisely what was being attempted with \u003cb\u003eIngres\u003c/b\u003e in 1840-41 ; the biographers were trying to fix the painter in\u0026nbsp;..."},{"page_id":"PA145","page_number":"145","snippet_text":"... \u003cb\u003eIngres\u003c/b\u003e to recommence his tireless harangue against the villainy and ingratitude of his ignorant contemporaries . In fact , the artist\u0026#39;s desperation over the critical hostility toward Saint Symphorien , which Laurent qualifies as hav\u0026nbsp;..."},{"page_id":"PA147","page_number":"147","snippet_text":"... \u003cb\u003eIngres\u003c/b\u003e.39 The illustriousness of these lenders , combined with the charitable and art historical / pedagogical nature of the exhibition , would seemingly have mitigated any taint of commercialism that might otherwise have clung to a\u0026nbsp;..."},{"page_id":"PA153","page_number":"153","snippet_text":"... - Nouvelle \u0026quot; in the radical satirical journal Le Corsaire - Satan is unexpectedly ( but certainly not unproblematically ) admiring of \u003cb\u003eIngres\u003c/b\u003e . 35. J.-A.-D. \u003cb\u003eIngres\u003c/b\u003e , La Grande Odalisque , 1814 (. The Painter Behind the Canvas 153."},{"page_id":"PA165","page_number":"165","snippet_text":"Andrew Carrington Shelton. discourse of daring individualism - by transforming Monsieur \u003cb\u003eIngres\u003c/b\u003e , membre de l\u0026#39;Institut , professeur de l\u0026#39;École des beaux - arts , Directeur de l\u0026#39;Académie de France à Rome , etc. , into Monsieur \u003cb\u003eIngres\u003c/b\u003e\u0026nbsp;..."},{"page_id":"PA170","page_number":"170","snippet_text":"... \u003cb\u003eIngres\u0026#39;s\u003c/b\u003e drawing neither its correctness nor its beauty but rather its extremism - the extent to which the painter tended to invest everything in this one particular aspect of his art . \u0026quot; With M. \u003cb\u003eIngres\u003c/b\u003e , the feeling for line is pushed\u0026nbsp;..."},{"page_id":"PA175","page_number":"175","snippet_text":"... \u003cb\u003eIngres\u0026#39;s\u003c/b\u003e exclusive concentra- tion on form , his sublimely beautiful art continued to be morally and spiritually uplifting . - - As we noted at the end of the preceding chapter , the revolutionary rhetoric employed by many of the early\u0026nbsp;..."},{"page_id":"PA178","page_number":"178","snippet_text":"... \u003cb\u003eIngres\u0026#39;s\u003c/b\u003e exhibition as a kind of allegory of the social harmony and egalitarian spirit he deems characteristic of the modern age , other aspects of his analysis undermine such an optimistic out- look . The viciousness with which he\u0026nbsp;..."},{"page_id":"PA179","page_number":"179","snippet_text":"... \u003cb\u003eIngres\u0026#39;s\u003c/b\u003e affinity for the female nude in 1846 has yet to enter our analysis : Charles Baudelaire . 130 Given the scorn this emerging critic would subsequently heap on the artist , Baudelaire\u0026#39;s assessment of \u003cb\u003eIngres\u0026#39;s\u003c/b\u003e contributions to the\u0026nbsp;..."},{"page_id":"PA183","page_number":"183","snippet_text":"... \u003cb\u003eIngres\u0026#39;s\u003c/b\u003e Odalisques , but the threat of history itself . When reduced to a configuration of color and lines , lights and shadows , planes and reflections , \u003cb\u003eIngres\u0026#39;s\u003c/b\u003e art is insulated from the broader pressures of social life that might\u0026nbsp;..."},{"page_id":"PA184","page_number":"184","snippet_text":"... \u003cb\u003eIngres\u0026#39;s\u003c/b\u003e talent as its all - encompassing totality . What had appeared to many as the disconcerting variety - and ... \u003cb\u003eIngres\u0026#39;s\u003c/b\u003e studio Gautier had published in La Presse a year earlier , 145 confirmed the critic\u0026#39;s status as a\u0026nbsp;..."},{"page_id":"PA190","page_number":"190","snippet_text":"... \u003cb\u003eIngres\u003c/b\u003e had executed the broach in the center of the baronne\u0026#39;s celebrated hat . \u0026quot; All of \u003cb\u003eIngres\u0026#39;s\u003c/b\u003e painting is there , \u0026quot; he disdainfully concluded - \u0026quot; the exacting imitation of a misplaced detail . \u0026quot; 171 Although critics seemed relatively\u0026nbsp;..."},{"page_id":"PA191","page_number":"191","snippet_text":"... \u003cb\u003eIngres\u003c/b\u003e personally , asserted that the painter was greatly disturbed by these rumors concerning his rude treatment of such an illustrious sitter - rumors that the critic curtly dismissed as idle society gossip , 180 In the end , the\u0026nbsp;..."},{"page_id":"PA199","page_number":"199","snippet_text":"... \u003cb\u003eIngres\u003c/b\u003e emphasized the projects in the Oeuvres . Within the context of this publication , political affiliation became a matter of status , not ideology . Although reviewers of the Oeuvres perpetuated the trend of isolating \u003cb\u003eIngres\u0026#39;s\u003c/b\u003e\u0026nbsp;..."},{"page_id":"PA200","page_number":"200","snippet_text":"... \u003cb\u003eIngres\u003c/b\u003e we have encountered in this study , the critic fails to support his broad claims about the artist\u0026#39;s originality with concrete observations about particular works of art ) , Louis de Cormenin\u0026#39;s assessment of the Oeuvres de J. A.\u0026nbsp;..."},{"page_id":"PA203","page_number":"203","snippet_text":"... \u003cb\u003eIngres\u0026#39;s\u003c/b\u003e involvement in the decoration of the third of these mon- umental rooms , which remained dedicated to Napoleon I , is somewhat cloudy.45 The artist signed a contract ... \u003cb\u003eIngres\u0026#39;s\u003c/b\u003e Gallery in the. L\u0026#39;Oeuvre de Monsieur \u003cb\u003eIngres\u003c/b\u003e 203."},{"page_id":"PA208","page_number":"208","snippet_text":"... \u003cb\u003eIngres\u003c/b\u003e . That the particular circumstances under which reviewers encountered \u003cb\u003eIngres\u0026#39;s\u003c/b\u003e painting contributed to the narrowly aesthetic focus of their discourse is demonstrated most clearly by the response of a belated assessor who almost\u0026nbsp;..."},{"page_id":"PA210","page_number":"210","snippet_text":"... \u003cb\u003eIngres\u003c/b\u003e by his lifelong friend Cormenin had appeared.7 ° Both Du Pays and Du Camp adopted a mocking stance toward the most politically ingratiating details of the Apotheosis . \u0026quot; Yet this is no longer art , but Latin , \u0026quot; the former cried\u0026nbsp;..."},{"page_id":"PA215","page_number":"215","snippet_text":"... \u003cb\u003eIngres\u003c/b\u003e , as the most celebrated artist of the day , was cru- cial to the legitimacy of the Universal Exposition and , more indirectly , to that of the regime that sponsored it . Getting the painter to overcome his longstanding aversion\u0026nbsp;..."},{"page_id":"PA226","page_number":"226","snippet_text":"... \u003cb\u003eIngres\u003c/b\u003e and Delacroix , nevertheless regarded the Exposition Universelle as constituting \u0026quot; the last judgment on our painting of the previous twenty years . \u0026quot; It is obvious from his subsequent ... \u003cb\u003eIngres\u003c/b\u003e 226 \u003cb\u003eIngres\u003c/b\u003e and His Critics."},{"page_id":"PA239","page_number":"239","snippet_text":"... \u003cb\u003eIngres\u0026#39;s\u003c/b\u003e works during the earliest phases of his career : Susan Locke Siegfried , \u0026quot; \u003cb\u003eIngres\u003c/b\u003e and his Critics , 1806-1824 , \u0026quot; Harvard University , 1980 ; Yoo - Kyong Lee , “ La Fortune critique de Jean - Auguste - Dominique \u003cb\u003eIngres\u003c/b\u003e\u0026nbsp;..."},{"page_id":"PA240","page_number":"240","snippet_text":""},{"page_id":"PA246","page_number":"246","snippet_text":"... \u003cb\u003eIngres\u003c/b\u003e , with his exclusionary claims for line over color , as the principal impediment to this conciliatory trend . 35. Paulin Lim . . . , “ Salon de 1834 , \u0026quot; Le Légitimiste , no . 10 ( 1834 ) 478. Similar right - wing denunciations of\u0026nbsp;..."},{"page_id":"PA249","page_number":"249","snippet_text":"... \u003cb\u003eIngres\u003c/b\u003e , Paris : Adam Biro , 1999 , 235 , pl . 160 . 82. According to Lapauze 1911 , 308 , and followed , without further comment , by Ternois 1980 , 226-28 . This traditional supposition is given credence by the inscription \u0026quot; l\u0026nbsp;..."},{"page_id":"PA256","page_number":"256","snippet_text":"... \u003cb\u003eIngres\u003c/b\u003e , \u0026quot; JdA , September 6 , 1840 , 151-3 . 53. Charles Blanc , \u003cb\u003eIngres\u003c/b\u003e : Sa vie et ses ouvrages , Paris : Renouard , 1870. Surprisingly , there has been no complete study of Blanc\u0026#39;s activities as a critic , theorist , historian , and\u0026nbsp;..."},{"page_id":"PA262","page_number":"262","snippet_text":"... \u003cb\u003eIngres\u003c/b\u003e pour faire pendant à celle de Léonard de Vinci , \u0026quot; Ch , June 18 , 1841. For the attribution of this unsigned article to Laurent , see Mergier - Bourdeix , ed . , Jules Janin : 735 lettres à sa femme , 3 vols . , Paris : C\u0026nbsp;..."},{"page_id":"PA271","page_number":"271","snippet_text":"... \u003cb\u003eIngres\u0026#39;s\u003c/b\u003e response to this questionnaire that Guyot de Fère refers in his biography in the Journal des beaux - arts ... \u003cb\u003eIngres\u003c/b\u003e , \u0026quot; 1841 , 305 . 15. Loménie 1840 , 11-12 : “ An interior voice told him that somewhere there was a\u0026nbsp;..."},{"page_id":"PA275","page_number":"275","snippet_text":"... \u003cb\u003eIngres\u0026#39;s\u003c/b\u003e most famous religious compositions , Saint Symphorien , The Vow of Louis XIII , and La Vierge à l\u0026#39;Hostie ( the latter two by the engraver Luigi Calamatta ) , were hung in the vestibule of the main exhibition hall . See the\u0026nbsp;..."},{"page_id":"PA283","page_number":"283","snippet_text":"... \u003cb\u003eIngres\u003c/b\u003e pour l\u0026#39;Hôtel - de - Ville - Apothéose de Napoléon , \u0026quot; Le Constitutionnel , February 10 , 1854 ; Paul de Saint - Victor , \u0026quot; Apothéose de Napoléon , plafond par M. \u003cb\u003eIngres\u003c/b\u003e , \u0026quot; Le Pays , March 18 , 1854 ; and Clément de Ris 1854 , 27\u0026nbsp;..."},{"page_id":"PA286","page_number":"286","snippet_text":"... \u003cb\u003eIngres\u003c/b\u003e was not Monsieur Delacroix \u0026quot; and that \u0026quot; Monsieur Delacroix was not Monsieur \u003cb\u003eIngres\u003c/b\u003e . \u0026quot; See Arnould Frémy , \u0026quot; M. Prudhomme à l\u0026#39;Exposition , \u0026quot; Ch , October 23 , 1855 , cited in Mainardi 1987 , 73 . 116. Alphonse de Calonne\u0026nbsp;..."},{"page_id":"PA290","page_number":"290","snippet_text":"... \u003cb\u003eIngres\u003c/b\u003e - Saint Symphorien , \u0026quot; Moniteur du commerce , March 23 , 1834 . F. [ Farcy , Charles ] , \u0026quot; De la critique à l\u0026#39;ocassion du Salon de 1834 , \u0026quot; JdA , May 25 , 1834 , 361-6 . G. , Marie - Camille de , “ Salon de 1834 , \u0026quot; Tribune des\u0026nbsp;..."},{"page_id":"PA292","page_number":"292","snippet_text":"... \u003cb\u003eIngres\u003c/b\u003e . La Stratonice , \u0026quot; A , ser . 2 , 6 , no . 9 ( August 23 , 1840 ) 133-5 ; no . 10 ( August 30 , 1840 ) 151-3 . \u003cb\u003eIngres\u0026#39;s\u003c/b\u003e Banquet and Rumors about the Peerage [ Anon . ] , \u0026quot; De l\u0026#39;Ostracisme des artistes et la pairie , \u0026quot; A , ser . 3\u0026nbsp;...","page_url":"https://books.google.com.sg/books?id=veSn-tSofF0C\u0026pg=PA292\u0026dq=ingres\u0026lr=\u0026as_drrb_is=q\u0026as_minm_is=0\u0026as_miny_is=\u0026as_maxm_is=0\u0026as_maxy_is=\u0026as_brr=3\u0026hl=pt-BR"},{"page_id":"PA293","page_number":"293","snippet_text":"... \u003cb\u003eIngres\u003c/b\u003e , \u0026quot; JdD , July 12 , 1841 . P. D. L. , \u0026quot; Du nouveau tableau de M. \u003cb\u003eIngres\u003c/b\u003e , \u0026quot; Estafette , July 20 , 1841 . [ Ladet , Ulysse ] , \u0026quot; Beaux - arts , \u0026quot; A , ser . 2 , 6 , no . 24 ( 1840 ) 373-4 . Lenormant , Charles , \u0026quot; La Vierge adorant\u0026nbsp;...","page_url":"https://books.google.com.sg/books?id=veSn-tSofF0C\u0026pg=PA293\u0026dq=ingres\u0026lr=\u0026as_drrb_is=q\u0026as_minm_is=0\u0026as_miny_is=\u0026as_maxm_is=0\u0026as_maxy_is=\u0026as_brr=3\u0026hl=pt-BR"},{"page_id":"PA294","page_number":"294","snippet_text":"... \u003cb\u003eIngres\u003c/b\u003e , \u0026quot; Mémoires de l\u0026#39;Académie des sciences , agriculture , commerce , belles - lettres et arts du département de La Somme , 5 ( 1843 ) 449–54 . Lenormant , Ch . , \u0026quot; M. \u003cb\u003eIngres\u003c/b\u003e . Portraits de Cherubini et de Monseigneur le duc d\u0026nbsp;...","page_url":"https://books.google.com.sg/books?id=veSn-tSofF0C\u0026pg=PA294\u0026dq=ingres\u0026lr=\u0026as_drrb_is=q\u0026as_minm_is=0\u0026as_miny_is=\u0026as_maxm_is=0\u0026as_maxy_is=\u0026as_brr=3\u0026hl=pt-BR"},{"page_id":"PA296","page_number":"296","snippet_text":"... \u003cb\u003eIngres\u003c/b\u003e , \u0026quot; Revue de Paris , February 1852 , 90-102 . Delécluze , Énne Jn , \u0026quot; Oeuvres de J.-A. \u003cb\u003eIngres\u003c/b\u003e , \u0026quot; JdD , November 2-3 , 1851 . Hély , Georges d \u0026#39; , \u0026quot; L\u0026#39;Oeuvre de M. \u003cb\u003eIngres\u003c/b\u003e , \u0026quot; A , ser . 5 , 7 , no . 8 ( November 15 , 1851 ) 118\u0026nbsp;..."},{"page_id":"PA299","page_number":"299","snippet_text":"... \u003cb\u003eIngres\u003c/b\u003e , \u0026quot; Réformateur , November 16 , 1834 . 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