Ingres, Then and Now (Re Visions : Critical Studies in the by Adrian Rifkin

By Adrian Rifkin

Ingres Then, and Now is an leading edge learn of 1 of the best-known French artists of the 19th century, Jean Auguste Dominique Ingres. Adrian Rifkin re-evaluates Ingres' paintings within the context of quite a few literary, musical and visible cultures that are in most cases visible as alien to him. Re-viewing Ingres' work as a chain of fragmentary signs of the commodity cultures of nineteenth-century Paris, Adrian Rifkin attracts the artist clear of his normal organization with the Academy and the Salon.Rifkin units out to teach how, through considering the historic archive as a kind of the subconscious, we will be able to renew our figuring out of nineteenth-century conservative or educational cultures via examining them opposed to their 'other'. He situates Ingres on this planet of the Parisian Arcades, as represented by way of Walter Benjamin, and examines the influence of this juxtaposition on how we predict of Benjamin himself, following Ingres' snapshot in renowned cultures of the 20 th century. Rifkin then returns to the past due eighteenth and early 19th centuries to discover lines of the emergence of unusual signs in Ingres' early paintings, signs which open him to a number of conflicting readings and appropriations. It concludes through interpreting his value for the good French artwork critic Jean Cassou at the one hand, and in creating a daring, modern homosexual appropriation at the other.Ingres Then, and Now transforms the preferred photograph we've got of Ingres. It argues that the determine of the artist is neither mounted in time or position - there's neither a necessary guy named Ingres, nor a novel physique of his paintings - yet is an influence of many, complicated and overlapping old results.

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Now I would say that he is ‘très grand’, even, for the beauty of his strange and inconsistent textuality. The stages of Ingres which I will offer are few but, I hope, in their manner exemplary. Many others would be feasible. 23 Richard Wollheim’s, in his Painting as an Art, situates the complexities and oddities of a number of 18 INTRODUCTION Ingres’ spatial constructions and visual narratives through the use both of the classic Freudian reflections on the role of the father and the post-Freudian or Kleinian concept of projective identification.

154–170. 37 Tubières de Grimoard de Pestels de Lévis, Comte de Caylus, Tableaux tirés d’Homère et de Virgile, avec des observations générales sur le costume, Paris, 1757, and see Norman Schlenoff, Ingres: cahiers littéraires inédits, Paris, PUF, 1956, for the best account of Ingres’ classical reading. 38 When we look at Caylus in his volumes of antiquites we see how the quantity of objects, problems of periodisation and classification almost always exceeds judgement, and how he comes to admire Egyptian building for its own grandeur rather than as a mere precedent for that of Periclean Athens.

They found an I for themselves and for their institutions, the Académie Française and other cultural apparatuses of state, the Gazette des Beaux-Arts and the Academic funeral orations, in the he that they gave the name of Ingres. For them, Ingres stands, above all, for the ‘unity’ and ‘solidity’ of their national tradition of French art. A tradition that through its unity is able to recuperate the significance INTRODUCTION 33 Figure 15 of artistic practices and production from the shock and transforming effects of historical change.

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