Jean August Dominica Ingres

His father cultivated his interest in art since he was a child. At that time, he was very keen on pursuing primitivism. Because of his hard work and seriousness, the 17-year-old Angell is already a very good painter. At the time, David was serving as Napoleon's chief painter. 1834-1841 In 1979, he went to Rome again and studied deeply the works of Italian classical masters during the Renaissance, especially praising Raphael Sancy. After being educated by Davitt and the Italian classical tradition, Angres had a deeper understanding of classical laws. When Davitt went into exile in Belgium, he became a standard-bearer of French neoclassicism, competing with romanticism.

As a representative of neoclassicism in the 19th century, he represented the conservative academic school and opposed the emerging romantic school of painting at that time, forming a sharp school struggle. Angor did not rigidly copy the style of ancient masters. He was good at grasping the beauty of classical art and melting this classical beauty into nature. He derived a simple and simple style from classical beauty, and always took Winckelman's "tranquility greatness, lofty simplicity" as his principle. His paintings absorb relics such as 15th century Italian painting and ancient Greek pottery decorative painting. His paintings are meticulous, attach importance to line modeling, and are especially good at portraits. In terms of specific techniques,"ensure clean lines and smooth shapes." Therefore, almost every painting strives to achieve rigorous composition, simple colors, and elegant image, which particularly prominently reflects his series of paintings that express the beauty of the human body, such as "Spring","Big Lady of Wapingsong","Turkish Bathroom", etc. "Portrait of Madame Rivier" In 1805, Angor completed the painting "Portrait of Madame Rivier". This portrait is undoubtedly one of Angor's masterpieces in terms of color. The even colors are harmoniously combined like a mosaic, and the colors show the shape with certain hints of ups and downs, but do not resort to shadows. The body and clothes are highlighted in ivory white to form the light-receiving part of the picture, while the dark blue sofa forms the shadow part of the picture. Both colors are incorporated into the black background. Small changes in red and yellow will not harm the overall effect. Personality and simple expression, light and dark and simplicity-these are what gives this portrait a unique beauty. The work was shown in a salon in 1806, but its "unique, revolutionary, Gothic" style attracted the ire of many critics. Afterwards, Angor went to Italy, where he fawned and studied Florentine paintings of the 15th century, with the aim of raising his style to the level of the Renaissance and transforming the paintings of the time. He once said: "The unexplored art in the early stages of artistic development is sometimes more beautiful in terms of its foundation than the art that has reached perfection." At that time, he was deeply attracted by medieval art.

In 1824, Angles opened his own school in Paris, and young people pursuing primitivism turned to him. Pursuing a straightforward and pure primitive style, taking religious painting as a beloved genre, and interested in the medieval Renaissance, he believed that the path to sound art lay in studying nature through the Greeks and Raphael Santi (1483-1520), paying attention to detail, and mainly seeking clean lines and smooth shapes. He emphasized the beauty of purity and indifference, which was in contradiction to Davit's artistic views. Angor undoubtedly invested more emotion and enthusiasm in his attitude towards ancient Greece.

When Angel's reputation was at its height, it was also an era when classicism was facing the end and romanticism was on the rise. There were many debates between him and Delacroix, the representative of the new romanticism. Romanticism emphasized the use of color, while classicism emphasized the integrity of the outline and the rigor of the composition.

Angel enjoyed a great reputation during his lifetime and was buried in the famous Pastor Lachaise Cemetery in Paris.

Angor admired Greco-Roman art and Raphael, defended classical laws like David, but also showed a strong interest in the Middle Ages and Eastern exotic customs, and was dramatically classified as the Romantic School by some art historians.

Angel is a passionate man who worships nature with all his heart. Angel studied nature before consulting the Greeks and Raphael. He once asserted: "The Greeks are nature; Raphael is Raphael because he knows nature better than others." However, Angel cannot completely give up the treatment of light and shade. He also uses strong, overly bright and unreal colors to make up for the coldness of the color of the work. In this case, when we look at Angel's paintings, we usually feel that the lines are too clean. It is this cleanliness of the lines that leads Angel to abstraction, leaving the picture without content, but in order to express light and shade and reflection (making the work rich in content), he will also interrupt the lines to make them "painterly", but in this "painterly" as hard as metal, there is no such fluency and "soul" as is essential for ordinary "paintery". For example, "Paul and Francesca", created in 1819. When his lines became too accurate, he overwhelmed them with details and painted a bunch of purely low-level ornaments. But when he imitated Titian, it was simply Raphael, and the work at this time became a precious masterpiece. After his first visit to Rome, he perfected his painting style, and more and more masterpieces appeared. His art also reached its peak.