International Art Treasures Web Magazine

April 2006  

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Ingres and his Critics

With baited breath the public entered the 1834 Parisian Salon to finally view the long anticipated unveiling of Jean-Auguste-Dominique Ingres's Martyrdom of Saint Symphorien. The criticism was scathing: Ingres never again exhibited at the Salon.

The above is the traditional interpretation of the reaction to Ingres' masterpiece. Andrew Carrington Shelton delves into the critical response to Jean-Auguste- Dominique Ingres's work and also his life.

The temperamental Ingres used the response of the critics to justify his refusal to participate in future Salons and also to set strict dictates for future exhibits.

Following his disdain for the critics views of his work he left France to spend six years as the Director of the French Academy in Rome. While in Italy he produced only four original compositions including La Stratonice. Like Martyrdom of Saint Symphorien, the public had waited for a long time, in this case seven years, to view the work.

The Duc d'Orléans commissioned La Stratonice. Despite his actual ownership of the work it was the artist who decided it would not be displayed at the Salon. In a letter Ingres was adamant the painting would be displayed privately, preferably only to his friends. The Duc followed Ingres's wishes and displayed La Stratonice in one of his private rooms at the Pavillon de Marsan of the Tuileries Palace, though through petitioning the French Prince or his employees members of the public were able to gain access to this awaited Ingres work.

Shelton paves an image of an artist dissatisfied with his critical response, and takes the time to review the criticisms and points out where Ingres was thin skinned and where he was justified in his outrage, though not necessarily his reaction. Ingres and his Critics is an intriguing review of the artistry of Ingres and subsequent reception to his works.