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19 century painting man reader3/17/2023 Mathis explains that the new armour may have been an attempt to cloak his nudity at the request of Ingres’ conservative second wife, who kept this painting in her collection. It’s only in this final work that Marcellus wears a Roman military cuirass - closely resembling that of the 1st-century AD statue Augustus of Prima Porta - the recent discovery of which had been widely publicised. It remained unfinished at the time of Ingres’ death and was only completed years later by another pupil, Jean Pichon, who took cues from other, now lost versions.īy the time of an 1819 sketch, Marcellus appears in the scene as a statue, initially in the form of an idealised Greek warrior whose shadow hovers over the scene like his ghost. Ingres bought it back in the 1830s and directed his pupil Raymond Blaze to scrape down the surface and drastically alter it to adhere more closely to Pradier's print. ‘This first version was commissioned by General Miollis, a French governor in Rome who shared Ingres’ affinity with Virgil,’ says Mathis. signed lower right and dated 1873 Image size: 23 1/2 x 19 1/2 inches (59.5 x 49.5 cm) Original frame Desdemona. Ingres’ earliest known depiction of the scene from 1811 doesn’t include Marcellus however, layers of over-paint obscure the work’s original composition. Shop our wide selection of 19th century portrait paintings from top. Upon their meeting, Aeneas announces ‘ Tu Marcellus eris’ (you will be Marcellus) - the line narrated in this scene which causes his grieving mother to faint. In Book VI of the Aeneid Marcellus’s ghost acts as a guide for the story's hero Aeneas through Hades. This was Ingres attempting to create perfect conceptions of these major works.’ ‘In an attempt to secure his legacy at the end of his life, he produced smaller-scale paintings and drawings of works he considered masterpieces - each including any final amendments. ‘He was a notorious perfectionist,’ says specialist Laura H. When Ingres completed this final version in 1864 - painted by the artist over an 1832 engraving of the composition made by Charles-Simon Pradier, after a drawing by Ingres - he was rapidly revisiting his life’s work. It was a scene that the artist returned to in every decade of his working life, revising it in more than 100 drawings and watercolours and three oil paintings. At the mention of the ghost of her dead son, Marcellus, Octavia faints. Having studied the work of the Roman poet Virgil, as well as biographies of his life, Ingres embarked on depicting the moment when he recited his Aeneid to the Emperor Augustus, his wife Livia and his sister Octavia. Jean-Auguste-Dominique Ingres (1780-1867), along with his mentor Jacques-Louis David (1748-1825), spearheaded a Neo-Classical style in European art that championed the artistic language of antiquity.
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