This person is associated with: Neoclassicism
French neoclassical and romantic painter.
A promising student, Ingres entered the workshop of Jacques Louis David during the French Revolution when he was 17 years of age. He competed for the Prix de Rome in 1800, finishing in second place with his painting Antiochus Sending Scipio's Son back (attributed to Granger) and won the Prix de Rome the following year with Achilles Receiving the Envoys of Agamemnon.
Whilst he was in Rome, Ingres was totally fascinated by Raphael and earlier masters of the quattrocento and copied Raphael’s style, which was not highly appreciated in Paris at the time. Consequently, he extended his stay in Italy - until the Battle of Waterloo in 1815. There, his paintings evolved towards total purity of lines and patterns, as the German Nazarenes did at the same time. His style can indeed be compared to them since it looked deliberately archaic.
Contrary to Ingres’ belief in the classical form, his style also leaned towards Romanticism in much of his subject matter whereas the previous generation focused on heroic warriors carelessly sacrificing themselves or their families for the State. He also exaggerated human anatomy to increase the impact of his works, such as Grande Odalisque, in which he added several vertebrae to highlight the curve of her back, forgetting his neoclassical lessons, which were to draw very accurate proportions. His interest in French history also brought him closer to the Troubadour movement, even if he and his followers differed visually.
He was usually opposed to Delacroix‘s style that focused on light and colours, and who painted with blurry patterns and slightly apparent brush strokes.
Géricault, Delacroix and their pupils dominated Romanticism in France and Ingres chose to return to Italy since he disliked their painting techniques. Indeed, he accepted the position of director of the French Academy in Rome from 1835 to 1840. He was nonetheless acclaimed in the Salon on his return.
Ingres inspired academic artists of the second half of the century, who tried to make the synthesis of his style with Delacroix's. Napoleon III also appointed him Senator in 1862.
He was the master of Amaury-Duval.