让·奥古斯特·多米尼克·安格尔(Jean Auguste Dominique Ingres)高清作品:Portrait of French journalist Louis-Fran&amp?ois Bertin

让·奥古斯特·多米尼克·安格尔(Jean Auguste Dominique Ingres)高清作品《法国记者肖像路易-法国amp?ois Bertin》

作品名：法国记者肖像路易-法国amp?ois Bertin

原名：肖像路易-弗朗索瓦Bertin主任辩论日报

艺术家：让·奥古斯特·多米尼克·安格尔

年代：1832

风格：新古典主义

类型：肖像

材质：布面油彩

标签：男性的肖像

尺寸：116 x 95 cm

在肖像画中，英格尔超越了他所有的同时代人。他可以把现实准确和心理洞察力结合起来，但仍然是清醒的观察者，不参与主体的内心生活。他可以像年轻的公主一样毫不费力地画老人，并且像七月君主政体和二月君主政体之间的主要人物之一路易斯·弗朗索瓦·伯丁（1766-1841）的肖像画一样，能像政治职位的尊严一样吸引其他画家的批评眼球。恩派尔。他创办了支持Louis Philippe政策的报纸。路易-弗朗索瓦是这位艺术家的赞助人和朋友，因此他接受了画像的委托，因为他宁愿画历史画，作为对熟人的恩惠。英格雷斯对画像不耐烦，这让他好几次都忍不住了，因为他找不到适合老人的姿势，他哭了起来。伯廷，这位守护神自己，将不得不安慰这位艺术家，直到他能够再次描绘他。英格雷斯终于能够完成肖像时，他遇到了伯丁坐在外面的咖啡馆的正确的姿势，然后他轻松完成了肖像。这幅肖像画是恩格斯作品中最早被广泛接受的作品。虽然一些批评家谴责其单调乏味的色彩和自然主义庸俗，但公众却被迷住了。

Title:Portrait of French journalist Louis-Fran&?ois Bertin

Original Title:Portrait de Louis-Francois Bertin, directeur du Journal des débats

artist:Jean Auguste Dominique Ingres

Date:1832

Style:Neoclassicism

Genre:portrait

Media:oil,canvas

Tag:male-portraits

Dimensions:116 x 95 cm

In portrait painting Ingres surpassed all his contemporaries. He could combine realistic exactitude with psychological insight, but still remain the sober observer, not involved in the inner life of his subjects. He could paint old men with the same supreme ease as young princesses, and capture the critical eyes of fellow painters as exactly as the dignity of political office, as in the portrait of Louis-Franзois Bertin (1766-1841), one of the leading personalities between the July monarchy and the Second Empire. He established the Journal des Débats which supported the policy of Louis-Philippe. Louis-Francois was a patron and friend of the artist, he thus accepted the commission of the portrait, as he rather painted historical paintings, as a favor to his acquaintance. Ingres’ impatience with the portrait got the best of him a number of times, when he broke down in tears at not being able to find a suitable pose for the old man. Bertin, the patron himself, would have to soothe the artist, until he was able to paint him again. Ingres was finally able to finish the portrait when he came across Bertin sitting at an outside café in the exact pose, after which he easily completed the portrait. This portrait was the first of Ingres’ paintings that was widely well-received. Although some critics decried its drab coloring and naturalism vulgar, the public was spellbound.