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196:. She is painted in bright red and gold colors, against a large, dark circular, mirror, lit by candle light, that reflects the back of her head and, especially, the curve of her neck. Her hands, which contain thirteen pale red and green jewel studded rings, caresses a white pillow and handkerchief. As with all of Ingres' female portraits, the sitter seems limbless, as if her body was not supported by a bone structure.
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His signature is written in the business tucked into the edge of the mirror. A number of small paper studies survive; the earliest of which show her reclining erotically on a sofa, the later sketches focus on the presentation of her upper body and chest. Some art historians have compared it in tone
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Born into a relatively wealthy family, she married Jean Marcoz, a merchant draper, in 1802, and they moved to Rome in 1803, and had a daughter, Geneviève-Amélina
Talensier that year. However, the marriage was unhappy, and they separated in 1809. Talensier left Rome to fight in the French army, and
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The portrait is considered one of Ingres' finest. Because she was significantly attractive and aristocratic, Ingres, who professed to disdain portraiture but who needed the income it provided, put great effort into the work in the hope of attracting other commissions.
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112:, in the west of France. The painting remained there until 1852, when it was sold to an art dealer. It was acquired in 1853 by the Musée des Beaux-Arts de Nantes for 4,000
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The work is Ingres' first to fully explore the use of a mirror, and the additional spatial space it allows, earlier seen but not as successfully, in the 1805
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After her death in 1828, the portrait remained in the possession of her husband until 1831, when, pursued by creditors, he sent it to his elder brother, the
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58:(1783–1828). Marcoz was 31 when the portrait was completed. Ingres had earlier portrayed her in a drawing of 1813.
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Marcoz is shown in a seductive and languid pose on a sofa, her hair tightly pulled back. She is dressed in a
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She began to socialise in artistic circles, passing herself off as
Italian. Marcoz met
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Conisbee, Philip. "Rome, 1806-1820". In: Tinterow, Gary; Conisbee, Philip (eds).
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50:. It shows Madame de Senonnes, née Marie-Genevieve-Marguerite Marcoz,
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Catalogue des tableaux et statues du Musée de la ville de Nantes
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414:, 6th edition, Imprimerie de Mellinet, 1854. Catalogue n° 481.
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Virgil reading The Aeneid before
Augustus, Livia and Octavia
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Among the sources that Ingres took inspiration from were
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980:
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312:List of paintings by Jean-Auguste-Dominique Ingres
248:Study for a Portrait of Madame de Senonnes Ingres
108:de Senonnes, where it was kept in his castle in
433:Ingres and the Studio: Women, Painting, History
421:. New York: Metropolitan Museum of Art, 1999.
478:
435:. Pennsylvania State University Press, 2002.
8:
895:Luigi Cherubini and the Muse of Lyric Poetry
672:Joan of Arc at the Coronation of Charles VII
584:Don Pedro of Toledo Kissing Henry IV's Sword
871:Portrait of Madame Marcotte de Sainte-Marie
855:Portrait of Caroline Murat, Queen of Naples
1009:Portraits by Jean-Auguste-Dominique Ingres
485:
471:
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278:Study for a Portrait of Madame de Senonnes
263:Study for a Portrait of Madame de Senonnes
213:, which he was working on simultaneously.
600:Henry IV Receiving the Spanish Ambassador
89:, 1813. Graphite on paper. 26.6 x 19.7 cm
16:Painting by Jean-Auguste-Dominique Ingres
863:Portrait of Madame Jacques-Louis Leblanc
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1024:Paintings in the Musée d'Arts de Nantes
328:
237:
185:, a blond lace collar, and transparent
419:Portraits by Ingres: Image of an Epoch
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68:Le tableau fait partie des collections
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903:Portrait of Comtesse d'Haussonville
791:Portrait of Marie-Françoise Rivière
592:Aretino and Charles V's Ambassador
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911:Portrait of Baronne de Rothschild
807:Napoleon I on His Imperial Throne
648:The Martyrdom of Saint Symphorian
452:. London: Harry N. Abrams, 1990.
224:(1799), and Leonardo da Vinci's
78:Marie-Geneviève-Marguerite Marcoz
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962:Self-Portrait at Seventy-Eight
879:Portrait of Amédée de Pastoret
847:Portrait of Madame de Senonnes
624:The Dauphin's Entry Into Paris
608:The Death of Leonardo da Vinci
222:Portrait of madame de Verninac
72:Musée des Beaux-Arts de Nantes
64:Portrait of Madame de Senonnes
37:Portrait of Madame de Senonnes
26:Portrait of Madame de Senonnes
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919:Portrait of Madame Moitessier
799:Mademoiselle Caroline Rivière
783:Portrait of Philibert Rivière
494:Jean-Auguste-Dominique Ingres
201:Mademoiselle Caroline Rivière
159:Mademoiselle Caroline Rivière
66:is part of the collection of
48:Jean-Auguste-Dominique Ingres
30:Jean-Auguste-Dominique Ingres
831:Portrait of Charles Marcotte
280:, graphite on paper, 1813–14
265:, graphite on paper, 1813–14
99:Alexandre de La Motte-Baracé
887:Portrait of Monsieur Bertin
823:Portrait of Madame Duvaucey
544:Romulus' Victory Over Acron
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935:Portrait of Madame Ingres
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500:
46:) is an 1816 painting by
927:The Princesse de Broglie
839:Portrait of Paul Lemoyne
656:The Illness of Antiochus
568:Raphael and La Fornarina
775:Bonaparte, First Consul
640:The Apotheosis of Homer
700:The Half-Length Bather
616:Roger Freeing Angelica
528:Oedipus and the Sphinx
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970:Antwerp Self-Portrait
954:Self-Portrait Aged 24
716:La Dormeuse de Naples
632:The Vow of Louis XIII
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24:
740:Odalisque with Slave
708:The Valpinçon Bather
227:La belle ferronnière
141:La belle ferronnière
576:Paolo and Francesca
560:The Dream of Ossian
218:Jacques-Louis David
189:, and with a white
94:was wounded twice.
1014:Portraits of women
536:Jupiter and Thetis
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33:
996:
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503:List of paintings
458:978-0-300-08653-9
446:Rosenblum, Robert
441:978-0-2710-4875-8
427:978-0-300-08653-9
173:luxurious velvet
136:Leonardo da Vinci
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756:The Turkish Bath
748:Venus Anadyomene
724:Grande Odalisque
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43:La Trastéverine
40:(once known as
28:, 106 x 84 cm.
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988:Musée Ingres
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87:Marie Marcoz
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973:(1864-1865)
930:(1851–1853)
922:(1844–1856)
664:The Odyssey
579:(1814–1819)
120:Description
52:viscountess
1003:Categories
732:The Source
398:Betzer, 26
389:Betzer, 27
318:References
794:(1805–06)
767:Portraits
512:paintings
294:grisaille
250:, 1813–14
181:, Indian
144:, 1490–96
735:(c 1820)
510:History
306:See also
292:Copy in
191:cashmere
156:Ingres,
56:Senonnes
981:Museums
406:Sources
234:Gallery
207:to his
171:low cut
106:Marquis
70:at the
965:(1858)
957:(1806)
938:(1859)
914:(1848)
906:(1845)
898:(1842)
890:(1832)
882:(1826)
874:(1826)
866:(1823)
858:(1814)
850:(1814)
842:(1811)
834:(1810)
826:(1807)
818:(1806)
810:(1806)
802:(1806)
786:(1805)
778:(1804)
759:(1863)
751:(1848)
743:(1842)
727:(1814)
719:(1809)
711:(1808)
703:(1807)
675:(1854)
667:(1850)
659:(1840)
651:(1834)
643:(1827)
635:(1824)
627:(1821)
619:(1819)
611:(1818)
603:(1817)
595:(1815)
587:(1814)
571:(1813)
563:(1813)
555:(1812)
547:(1812)
539:(1811)
531:(1808)
523:(1801)
456:
450:Ingres
439:
425:
300:, 1899
183:muslin
162:, 1805
114:francs
692:Nudes
323:Notes
194:shawl
179:ochre
110:Feneu
454:ISBN
437:ISBN
423:ISBN
187:lace
175:gown
296:by
220:'s
54:of
1005::
448:.
382:^
366:^
354:^
340:^
230:.
203:.
138:,
116:.
74:.
486:e
479:t
472:v
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
