(Neoclassicism & Romanticism){Neoclassicism [continued (13)]}[Extracts from source text with ms notes][12th May 1991]

[Redbook10:39][19910512:1718by](Neoclassicism & Romanticism){Neoclassicism [continued (13)]}[Extracts from source text with ms notes][12th May 1991]

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[continued]

‘This widening of Neoclassical interests appears in the work of Jean-Auguste-Dominique Ingres (1780-1867), a pupil of David, who carried Neoclassicism through to the second half of the 19^th century [ce]. Ingres revered the masters of the past and copied their styles quite openly in his work. Eventually he created a unique synthetic style with adaptations after Raphael & Poussin, early Renaissance & Gothic art, Flaxman engravings, primitive vase designs, Eastern art, & Roman wall paintings.

‘Like his contemporaries, Blake & Flaxman, Ingres argued that ideal art had developed

from a supremacy of line over colour.* This accounts for much of the experimental nature of his

work, when he copied subjects from Homer into undulating, flatly coloured compositions, for

example “Venus Wounded by Diomedes” (1805; Öffentliche Kunstsammlung, Kunstmuseum, Basel). These were condemned by French critics for their primitive qualities.’

**

*{s~>R~?}

**– ibid [Encyclopaedia of Visual Art 4:] 738-739

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