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for the commission. It was exhibited at the 1833 Salon and again in 1855, and while one critic complained of its "dry, shadow-less quality, and..the defective anatomy", the painting was a huge success - his most acclaimed at the 1833 Salon- and drew critical and popular admiration. Ingres was widely
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Typical of Ingres' female portraits, her anatomy seems almost boneless. Her arms are out of proportion, with her left arm, at the viewer's right, far longer than her right. Her neck is too elongated and doesn't seem strong enough to support her head. In a prelude to his later
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Duvaucey stares out directly at the viewer with a sly and suggestive smile. Set against a flat grey background, the perspective of the portrait is very shallow overall. It is framed by the inwards swoops of the cured rose and gold
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Forty years after its completion, Duvaucey urgently needed money and visited Ingres in Paris to sell the painting. Ingres recognised her, and found a buyer in
Fredric Reisit, whose collection became the
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pictorial space, gazing frontally at the viewer, dressed in lavish clothing and accessories. The portrait is the first female portrait painted during the artist's stay in Rome.
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88:. She holds an expensive-looking fan, and is adorned with three partly visible rings, an elegant thin necklace and elephant hair bracelets.
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is acclaimed for exhibiting her enigmatic charm, and as "not a portrait that gives pleasure.....a portrait that gives rise to dreams".
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and his "religion of form". It is today seen as groundbreaking in the development of portraiture.
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wrote of her that "there is no woman that M. Ingres has painted, but the likeness of the ancient
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Virgil reading The Aeneid before
Augustus, Livia and Octavia
44:. It shows Antonia Duvauçey of Nittis, the lover of
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155:List of paintings by Jean-Auguste-Dominique Ingres
252:Ingres and the Studio: Women, Painting, History
299:. New York: Metropolitan Museum of Art, 1999.
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254:. Pennsylvania State University Press, 2002.
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743:Luigi Cherubini and the Muse of Lyric Poetry
520:Joan of Arc at the Coronation of Charles VII
432:Don Pedro of Toledo Kissing Henry IV's Sword
719:Portrait of Madame Marcotte de Sainte-Marie
703:Portrait of Caroline Murat, Queen of Naples
857:Portraits by Jean-Auguste-Dominique Ingres
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448:Henry IV Receiving the Spanish Ambassador
16:Painting by Jean-Auguste-Dominique Ingres
711:Portrait of Madame Jacques-Louis Leblanc
295:Tinterow, Gary; Conisbee, Philip (eds).
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129:praised, especially for his skill with
69:Study for a Portrait of Madame Duvaucey
297:Portraits by Ingres: Image of an Epoch
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40:is an 1807 oil on canvas painting by
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751:Portrait of Comtesse d'Haussonville
639:Portrait of Marie-Françoise Rivière
440:Aretino and Charles V's Ambassador
145:where the painting remains today.
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759:Portrait of Baronne de Rothschild
655:Napoleon I on His Imperial Throne
496:The Martyrdom of Saint Symphorian
285:. London: Harry N. Abrams, 1990.
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810:Self-Portrait at Seventy-Eight
727:Portrait of Amédée de Pastoret
695:Portrait of Madame de Senonnes
472:The Dauphin's Entry Into Paris
456:The Death of Leonardo da Vinci
52:. Duvaucey is positioned in a
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767:Portrait of Madame Moitessier
647:Mademoiselle Caroline Rivière
631:Portrait of Philibert Rivière
342:Jean-Auguste-Dominique Ingres
42:Jean-Auguste-Dominique Ingres
30:Jean-Auguste-Dominique Ingres
679:Portrait of Charles Marcotte
206:, Retrieved 14 September 217
735:Portrait of Monsieur Bertin
671:Portrait of Madame Duvaucey
392:Romulus' Victory Over Acron
71:. Graphite and black chalk.
58:Portrait of Madame Duvaucey
37:Portrait of Madame Duvaucey
26:Portrait of Madame Duvaucey
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46:Charles-Jean-Marie Alquier
783:Portrait of Madame Ingres
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268:. Harry N. Abrams, 1990.
84:pale yellow and red silk
48:, then ambassador to the
775:The Princesse de Broglie
687:Portrait of Paul Lemoyne
504:The Illness of Antiochus
416:Raphael and La Fornarina
623:Bonaparte, First Consul
488:The Apotheosis of Homer
548:The Half-Length Bather
464:Roger Freeing Angelica
376:Oedipus and the Sphinx
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818:Antwerp Self-Portrait
802:Self-Portrait Aged 24
564:La Dormeuse de Naples
480:The Vow of Louis XIII
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588:Odalisque with Slave
556:The Valpinçon Bather
124:Ingres was paid 500
424:Paolo and Francesca
408:The Dream of Ossian
236:Tinterow,et al, 514
862:Portraits of women
384:Jupiter and Thetis
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351:List of paintings
305:978-0-300-08653-9
291:978-0-300-08653-9
279:Rosenblum, Robert
260:978-0-2710-4875-8
203:New York Magazine
98:Théophile Gautier
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604:The Turkish Bath
596:Venus Anadyomene
572:Grande Odalisque
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198:High and Low
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821:(1864-1865)
778:(1851–1853)
770:(1844–1856)
512:The Odyssey
427:(1814–1819)
139:Musée Condé
82:embroidered
80:chair, and
851:Categories
580:The Source
161:References
642:(1805–06)
615:Portraits
360:paintings
227:Betzer, 7
218:Betzer, 9
143:Chantilly
94:Odalisque
78:Louis XVI
583:(c 1820)
358:History
149:See also
67:Ingres,
50:Holy See
829:Museums
244:Sources
108:dress.
102:Chimera
813:(1858)
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387:(1811)
379:(1808)
371:(1801)
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289:
283:Ingres
272:
266:Ingres
258:
126:francs
120:, 1814
106:Empire
540:Nudes
166:Notes
104:, in
86:shawl
301:ISBN
287:ISBN
270:ISBN
256:ISBN
131:line
54:flat
200:".
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281:.
211:^
174:^
141:,
334:e
327:t
320:v
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