Ingres and the Studio: Women, Painting, History by Sarah BetzerIngres and the Studio: Women, Painting, History by Sarah Betzer

Ingres and the Studio: Women, Painting, History

bySarah Betzer

Hardcover | April 7, 2012

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Jean-Auguste-Dominique Ingres has long been recognized as one of the great painters of the modern era and among the greatest portraitists of all time. Over a century and a half of scholarly writing on the artist has grappled with Ingres’s singular identity, his relationship to past and future masters, and the idiosyncrasies of his art. Ingres and the Studio: Women, Painting, History makes a unique contribution to this literature by focusing on the importance of Ingres’s training of students and the crucial role played by portraits—and their subjects—for Ingres’s studio and its developing aesthetic project. Rather than understanding the portrait as merely a screen onto which the artist’s desires were projected, the book insists on the importance of accounting for the active role of portrait sitters themselves. Through careful analysis of familiar and long-overlooked works, Ingres and the Studio traces a series of encounters between painters and portrait subjects in which women sitters—such as the artist Julie Mottez, art critic, salonnière, and historian Marie d’Agoult, and tragic actress Rachel—emerge as vital interlocutors in a shared aesthetic project.

Sarah Betzer is Assistant Professor of Art History at the University of Virginia. Sarah Betzer is Assistant Professor of Art History at the University of Virginia.
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Title:Ingres and the Studio: Women, Painting, HistoryFormat:HardcoverDimensions:328 pages, 10.3 × 9.35 × 1.18 inPublished:April 7, 2012Publisher:Penn State University PressLanguage:English

The following ISBNs are associated with this title:

ISBN - 10:0271048751

ISBN - 13:9780271048758

Reviews

Table of Contents

Contents

List of Illustrations

Acknowledgments

Introduction

1 The Ingriste Portrait as History

2 Ingres’s Studio and the Subjects of Art

3 Julie Mottez, Rome, and Ingriste Myths of Origin

4 Marie d’Agoult, the Aesthetics of Androgyny, and the Apotheosis of Ingrisme

5 Ingres’s Studio Between History and Allegory: Rachel, Antiquity, and Tragédie

Conclusion

Notes

Selected Bibliography

Index

Editorial Reviews

“Betzer frames Ingres as an innovator whose contributions surpassed struggles waged on academic terrain. By probing the distinction between academic and ingriste, established via the portrait-as-history and negotiated through the bodies of Ingres’s female sitters, Betzer rejects old criticisms to establish ingriste practice as a crucial bridge to modernity, an idea forwarded by her conclusion’s examination of Edgar Degas’s The Bellelli Family (1858-67) as a history portrait. In this handsomely illustrated and persuasively written text, however, Betzer’s true contribution lies in her excavation of Ingres’s frequently dismissed students, many of whom have received relatively minimal critical consideration in the art historical literature.”—Mary Manning, Nineteenth-Century French Studies