A Sleeping Odalisque, Jean-Auguste-Dominique Ingres, 1810s-1830s

Jean-Auguste-Dominique Ingresフランス, 1780–1867

A Sleeping Odalisque

1810s-1830s · Oil painting · 29.8 × 47.6 cm

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『A Sleeping Odalisque』は今どこに？ ヴィクトリア&アルバート博物館, Paintings, Room 81, The Edwin and Susan Davies Galleries, ロンドン. はい、現在展示中. 確認 2026年9月25日.

ヴィクトリア&アルバート博物館

ロンドン, イギリス

展示室Paintings, Room 81, The Edwin and Susan Davies Galleries

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確認: 16 日前
この状態になった日: 2026年9月25日
出典: 美術館

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この絵画について

Jean Auguste Dominique Ingres (1780-1867) was born in Montauban. He studied with local painters in Toulouse before entering the Paris studio of David (1748-1825) in 1797. He was soon consider as the champion of the French classical tradition of history painting, traditionally opposed to the art of Delacroix in the early 19th century. Ingres was awarded the prix de Rome in 1801 and alternated long sojourns in Italy and Paris from 1806 but spent the last 9 years of his life in Paris where he died aged 87. His oeuvre also includes portraits paintings which represent a good testimonial of the 19th-century French high society.

This painting was probably a preparatory study for one of Ingres' Odalisques, a prototype of female reclining nude which recurs in several compositions. The precise painting for which it was a study is still subject to debate as well as the dating. However it was probably made in Rome between 1810 and 1830.

ヴィクトリア&アルバート博物館

作品データ

収蔵番号: CAI.57

描かれているもの

ヌード Sleeping Odalisque

カタログ収録

絵画油彩フランス絵画新古典主義ロマン主義 19世紀 French School Neoclassicism ローマ

出典

ヴィクトリア&アルバート博物館
画像：ヴィクトリア&アルバート博物館 — © Victoria and Albert Museum, London

その頃、Jean-Auguste-Dominique Ingresの人生では

生涯をすべて見る

1806–1810 · 修学
French Academy in Rome
1813
Marriage to Madeleine Chapelle
The acquaintance began by letter: Ingres drew Madeleine Chapelle's portrait from descriptions in her letters, and when they met in September the drawing matched the original; they married in December. Madeleine wrote to her sister that Ingres was an artist of enormous talent, neither a spendthrift, nor a drunkard, nor a libertine.
1819
Critics condemn the “Grande Odalisque” at the Salon
In 1819 Ingres sent the Grande Odalisque, Philip V and the Marshal of Berwick and Roger Freeing Angelica to the Salon, but critics again condemned his work as gothic and unnatural. The critic Kératry complained that the Odalisque's back was three vertebrae too long.
29 August 1820
The commission for “The Vow of Louis XIII” for Montauban Cathedral
The French Ministry of the Interior commissioned Ingres to paint an altarpiece for the cathedral of his native Montauban on the theme of the Vow of Louis XIII. The commission, which took four years, changed his life and brought him back to the canons of Neoclassicism.
12 November 1824
“The Vow of Louis XIII” at the Salon of 1824
Ingres showed the picture to which he had given four years at the Salon on 12 November 1824, alongside Delacroix's Massacre at Chios, and it was dubbed the “Salon of the Romantic battle”. Admirers and critics alike said the same of him: “the Raphael of our day” and “the best antidote to the Romantic threat”.
1834
The failure of “The Martyrdom of Saint Symphorian”
Ingres worked for ten years on the grand Martyrdom of Saint Symphorian as the summation of all his skill, but at the Salon of 1834 it was attacked by both the Neoclassicists and the Romantics. In anger he announced that he would no longer accept public commissions or take part in the Salon.