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Jean Auguste Dominique Ingres' Jupiter and Thetis

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RICE UNIVERSITY JEAN AUGUSTE DOMINIQUE INGRES’ JUPITER AND THETIS by NAYLA KABAZI MUNTASSER A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF ARTS APPROVED. THESIS COMMITTEE: Professor of Art History, Director. of Art History. Marion L. Grayson, Assistant Professor of Art History. Houston, Texas May, 1985 3 1272 00289 0745 m JEAN AUGUSTE DOMINIQUE INGRES’ JUPITER AND THETIS by NAYLA KABAZI MUNTASSER ABSTRACT The painting of Jupiter and Thetis was to be Ingres' vindication against previously hostile critics and the ultimate proof of his stature as a history painter. A definitive work in his oeuvre, it synthesizes all the intellectual, stylistic and visual influences to which he had so far been exposed. Ingres worked within the classical tradition, choosing his subject from Homer’s Iliad. The scene he chose to depict, however, was not one commonly represented and was inspired by an illustration by John Flaxman. His truly innovative achievement was in style, where he synthesized aspects of the linear treatment of Greek vase painting, illustrations of classical works and the style of Raphael. He studied a large number of relevant visual sources and used them as components of a new visual language. To understand Ingres' procedure is to comprehend his aesthetic beliefs. The Jupiter and Thetis expressed Ingres' ideals but was not appreciated by his contemporaries. Acknowledgements I owe more than can possibly be expressed to my parents Fuad and Dugia Kabazi who always had faith in me and respected my ambitions. I would like to thank my husband Mehdi Muntasser without whose support and patience this project would not have been. I also wish to thank my children, Jad and Nadine, for tolerating the occasional neglect. For solving various problems my thanks go to my brothers Najed and Nahel, and to a friend indeed—Sylvia Sheriff. I would like to extend special thanks to my advisor, Dr. John Hallam for his guidance and invaluable criticism, and to my readers, Professor Wiliam Camfield and Dr. Marion Grayson. In Montauban, I would like to thank M. Pierre Barrousse, Director of the Musee Ingres, for his gracious welcome and permission to use the photographs of Ingres’ drawings; also M. Toured and Mile Brigitte Genta for their help in retrieving and copying material. Last but not least, I wish to acknowledge those ancient places where my fascination with antiquity and its art first began—Sabratha, Leptis Magna and Oea. Contents List of Illustrations v Introduction 1 Chapter I Genesis of the Theme 18 II Development of the Style 36 III Creation of the Image 61 IV Judgement Rendered 88 Conclusion 112 Bibliography 123 Figures 128 List of Illustrations All measurements are given in centimeters. Height precedes width. Frontispiece: Jean-Auguste Dominique Ingres. Jupiter and Thetis, 1811. Oil on canvas, 327x260. Aix-en-Provence, Musée Granet. Figures : 1 Jacques-Louis David. The Lictors Bringing Brutus the Bodies of His Sons, 1789. Oil on canvas. Paris, Louvre. 2 Jacques-Louis David. Sabines, 1799. Oil on canvas. Paris, Louvre. 3 Anne-Louis Girodet de Roussy dit de Trioson. Ossian Receiving the Napoleonic Officers, 1801. Oil on canvas. Chateau de Malmaison, Musée National. 4 J.A.D. Ingres. The Ambassadors of Agamemnon in the Tent of Achilles, 1801. Oil on canvas. Paris, Ecole des Beaux Arts. 5 J.A.D. Ingres. Venus Wounded by Diomedes, 1803-05. Oil on canvas. Basel, Kunstmuseum. 6 John Flaxman. Venus Wounded in the Hand Conducted by Iris to Mars. Illustration in the Iliad, 1793. 7 W. Tischbein. Diana and Apollo. Illustration in Engravings from Vases in the possession of Sir William Hamilton, 1791. 8 J.A.D. Ingres. Bathing Woman, 1807. Oil on canvas affixed to panel, 51x42. Bayonne, Musée Bonnat. 9 School of Raphael. The Three Graces, 1519. Fresco. Rome, Villa Farnesina. 10 J.A.D. Ingres. Mercury, after Raphael, 1810. Oil on canvas. 245x212.5. Paris, École des Beaux-Arts. 11 Raphael. Council of the Gods, 1518-19. Fresco. Rome, Villa Farnesina. 12 Raphael. Vision of Ezekiel, 1518. Oil on canvas. Florence, Pitti. 13 J.A.D. Ingres. Philemon and Baucis, c.1801. Graphite on tracing paper, 30.2x41.7. Montauban, Musée Ingres. 14 George Romney . Jupiter and Thetis, c.1779. Pen and ink over pencil, 20.5x23.8. Cambridge, Eng., Fitzwilliam Museum. 15 John Flaxman. Thetis Beseeching Jupiter to honour Achilles, 1805. Illustration in the Iliad. 16 J.A.D. Ingres. Jupiter and Thetis, c.1810. Graphite on tracing paper, 32.5x24.2. Montauban, Musée Ingres (867.1796). 17 J.A.D. Ingres. Jupiter and Thetis, c.1810. Graphite on laid paper, 18.3x16.9. Montauban, Musée Ingres (867.1786). 18 J.A.D. Ingres. Jupiter and Thetis, c.1848. Graphite on tracing paper, 34.4x 28.5. Montauban, Musée Ingres (867.1797). 19 J.A.D. Ingres. Jupiter and Thetis, c.1848. Graphite on tracing paper, 40.2x30. Montauban, Musée Ingres (867.1795). 20 J.A.D. Ingres. Study for seated Jupiter, n.d. Graphite on paper, 25.7x16.7. Montauban, Musée Ingres (867.1791). 21 Jupiter. Illustration in Comte de Caylus' Receuils, 1767. 22 John Flaxman. Jupiter Sending the Evil Dream to Agamemnon. Illustration in the Iliad, 1793. 23 John Flaxman. Council of Jupiter, Minerva and Mercury. Illustration in the Iliad, 1793. 24 John Flaxman. Council of the Gods. Illustration in the Iliad, 1793. 25 Jupiter, in Ingres' collection of engravings. Montauban, Musée Ingres. vi 26 Jupiter with Mars, Venus and Eros, in Ingres* collection of engravings. Montauban, Musée Ingres. 27 J.A.D. Ingres. Drawing of live model posed as Jupiter, c.1810. Graphite on paper, 21.2x11.7. Montauban, Musée Ingres (867.1787). 28 J.A.D. Ingres. Study of antique bust probably Jupiter, n.d.. Graphite on paper, 13.8x12.6. Montauban, Musée Ingres (867.1792). 29 J.A.D. Ingres. Portrait of Bartolini, 1805. Oil on canvas. Montauban, Musée Ingres. 30 J.A.D. Ingres. Portrait study of Jupiter, 1810. Oil on canvas affixed to panel, 48x40. Montauban, Musée Ingres. 31 J.A.D. Ingres. Profile study of Jupiter, n.d. Oil on canvas affixed on panel, 48.3x40.5. Paris, Private Collection. 32 Jupiter. Carved sardonyx gem. Leningrad, Hermitage Museum. 33 Olympian Jupiter, in Ingres* collection of engravings. Montauban, Musée Ingres. 34 Venus of Capua. Rome, Vatican Museum. 35 Aphrodite and Eagle. Carved sardonyx gem. Leningrad, Hermitage Museum. 36 Pudicitia fleeing Venus. Carved sardonyx. Paris, Bibliothèque Nationale. 37 J.A.D. Ingres. Tracing in Greek vase, n.d. Graphite and watercolour on tracing paper, 19x19 . Montauban, Musée Ingres (867.3538). 38 J.A.D. Ingres. Study for Thetis’ arms, 1810. Graphite on paper, 25.7x16.7. Montauban, Musée Ingres (867.1790). 39 Maenad. Relief sculpture. Rome, Art Market. 40 J.A.D. Ingres. Study of Thetis’ drapery, 1810-11. Graphite on paper, 12x11.3. Montauban, Musée Ingres (867.1789). vii 41 Naples Cameo. Naples, National Museum. 42 Naples Cameo. Illustration in Johann Winckelmann's Monumenti inediti, 1767. 43 Naples Cameo. Illustration in Tassie and Raspé's Receuils, 1791. 44 J.A. Carstens. Naples Cameo. Illustration in Karl Philipp Moritz* Gotterlehre oder mythologische Dichtüngen der Alten, Berlin, 1791. 45 Jupiter Fighting Giant, in Ingres' collection of engravings. Montauban, Musée Ingres. 46 Gigantomachy Sarcophagus. Rome, Vatican Museum. 47 Gigantomachy Sarcophagus. in Ingres' collection of engravings. Montauban, Musée Ingres. 48 J.A.D. Ingres. Jupiter and Thetis, with author's overlay showing geometric surface design. viii J.A.D. Ingres, Jupiter and Thetis, 1811, Musée Granet, Aix-en-Provence. Introduction "I thought that when Thetis goes up to Jupiter, caresses his knees and chin for the sake of her son Achilles (first book of the Iliad ), would make a lovely subject for a painting and would be a worthwhile project in every way."^ Thus wrote Jean-Auguste Dominique Ingres to M. Forestier from Rome on December 25, 1806. In the same letter he continues, "I won't go with you into the details of this divine painting, whose ambrosia would be sensed from a league away, nor into the details of the beauty of the figures, of their expressions and of their divine forms. I shall let you think about it. Furthermore, it would be so beautiful that everyone, even the mad dogs who wish to bite me, would have to be touched by it. I have almost composed it in my head, and I see it.... As for its execution, you know my ambition for the perfection of art and the reasons that exist for that." This germinal idea was not to come to full fruition until 1811, when the Jupiter and Thetis, at first intended as Ingres' envoi of 1807, became his culminating work as a student in Rome — the payment of his final debt to the state o (Frontispiece) . Ingres wrote this letter to Forestier during his 2 first months in Rome as he was settling into the life of a student at the French Academy located in the Villa Medici. Ingres had won the Prix de Rome in 1801 but because of the lack of funds the departure of the pensionnaires, as the scholarship students were known, was delayed until 1806. Ingres remained at the Villa Medici until 1810 at which time, unable to get an official extension of his stay in Rome, he moved to other quarters in nearby Via Margutta. The students in Rome were required to send back to the Academy of Painting and Sculpture in Paris yearly submissions ( envois ) which included a copy of a work by 3 a master artist and an original composition. The Jupiter and Thetis was sent in 1811 as the original envoi for 1810 and can be considered within the context of the series of paintings that he executed to meet the 4 demands of his scholarship.
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  • Lorenzo Bartolini Vernio, 1777 - Florence, 1850

    Lorenzo Bartolini Vernio, 1777 - Florence, 1850

    Lorenzo Bartolini Vernio, 1777 - Florence, 1850 Elisa Bonaparte Baciocchi Levoy, Princesse Française, Princess of Piombino and Lucca, Grand Duchess of Tuscany, Countess of Compignano, Sister of Napoleon (1777 –1820) and Felix Pasquale Baciocchi Levoy, Prince of Piombino and Lucca (1762 –1841) Circa 1809 White marble, Elisa presented on a later turned marble socle; Felix inscribed along the chest ‘FELIX’, an old repair to the tip of Felix’s nose Elisa: 57 cm. high, 75 cm. high, overall Felix: 51.5 cm. high Provenance: By family tradition, Elisa Bonaparte, at her country house, the Villa Ciardi a Villa Vicentina, where also photographed between 1913 and 1919.1 On her death, Joseph Bonaparte (1768–1844), brother of Elisa, who, as the first-born son of their parents, had inherited much of the personal property in Villa Ciardi belonging to his sister Elisa, the fifth- born child, when she died in 1820. On his death, his daughter Zenaide Letizia Bonaparte (1801–54), who married her cousin Charles Lucien Bonaparte (1803–57), the son of Lucien Bonaparte (1775–1840), Napoleon's third-born brother. On her death, Julia Charlotte Bonaparte (1830–1900), daughter of Charles Lucien Bonaparte and Zenaide Letizia Bonaparte, who married Alessandro del Gallo, Marchese di Roccagiovine, Cantalupo e Bardella (1826–92) in 1847. On her death Marchese Alberto del Gallo di Roccagiovine (1854–1947) where documented in the State Archives as being in Villa Ciardi in 1913-1919 and erroneously attributed to Antonio Canova. On his death Marchesa Matilde del Gallo di Roccagiovine (1888-1977), who married Francesco Bucci Casari, Conte degli Atti di Sassoferrato.