French Neoclassical Painter, 1780-1867 was a French Neoclassical painter. Although he considered himself a painter of history in the tradition of Nicolas Poussin and Jacques-Louis David, by the end of his life it was Ingres' portraits, both painted and drawn, that were recognized as his greatest legacy. A man profoundly respectful of the past, he assumed the role of a guardian of academic orthodoxy against the ascendant Romantic style represented by his nemesis Eug??ne Delacroix. His exemplars, he once explained, were "the great masters which flourished in that century of glorious memory when Raphael set the eternal and incontestable bounds of the sublime in art ... I am thus a conservator of good doctrine, and not an innovator." Nevertheless, modern opinion has tended to regard Ingres and the other Neoclassicists of his era as embodying the Romantic spirit of his time, while his expressive distortions of form and space make him an important precursor of modern art..  Related Paintings of Jean-Auguste Dominique Ingres :. | Portrait of Yake | Portrait of a man | mme de senonnes | Portrait of Francois Marius Granet | Angel |
Related Artists:
Louis Abrahams
1839?C1918
Edmund Dorrell
1778-1857
Thomas Beach
British Painter, 1738-1806,English painter. He studied with Joshua Reynolds from 1760 until early in 1762, during which time he was also a student at the St Martin's Lane Academy, London. He probably settled in Bath; his recorded portraits of the 1760s are all of sitters from Dorset or Somerset, and he sent two portraits from an address in Bath to the Society of Artists exhibition of 1772. He exhibited with the Society until 1783, becoming its vice-president (1782) and president (1783) he also exhibited at the Royal Academy (1785-90, 1797). He probably divided his mature practice between London and Bath. His early reliance on Reynolds's ideas of propriety gave way to a more direct approach, seen at its best in such group portraits as The Stapleton Family (1789; U. Bath, Holburne of Menstrie Mus.). In this work, the four children are shown in costume, as a fortune-teller and her customers. The theatrical element in Beach's work, reflecting his interest in the stage, is seen most strikingly in Sarah Siddons and John Philip Kemble in 'Macbeth' Act 2, Scene ii (1786; London, Garrick Club). Beach's diary for 1798, the only one to have survived, chronicles what appears to have been an annual tour of the west country; that year he completed 31 portraits between June and December. Beach was able to capture a strong likeness and this, despite a certain naivety and awkwardness in composition, was enough to establish his reputation in moderately fashionable provincial circles. His last recorded work is a Self-portrait