Jean-Auguste-Dominique Ingres, 1851 - Mrs. Moitessier - fine art print

This artwork was created by the artist Jean-Auguste-Dominique Ingres in 1851. The version of the painting was painted with the size: 147 x 100 cm (57 7/8 x 39 3/8 in) and was painted with the technique oil on canvas. This artwork is included in the National Gallery of Art's collection. With courtesy of - National Gallery of Art, Washington (licensed: public domain).In addition, the work of art has the creditline: . The alignment of the digital reproduction is portrait with a side ratio of 2 : 3, meaning that the length is 33% shorter than the width. Jean-Auguste-Dominique Ingres was a politician, painter, violinist, whose style can primarily be classified as Neoclassicism. The Neoclassicist painter lived for a total of 87 years - born in 1780 in Montauban, Occitanie, France and deceased in the year 1867 in Paris, Ile-de-France, France.

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• Aluminium dibond print (metal): These are metal prints on aluminium dibond material with an impressive depth effect.
• Canvas print: The printed canvas applied on a wood stretcher frame. A canvas print has the great advantage of being relatively low in weight, meaning that it is easy and straightforward to hang up the Canvas print without extra wall-mounts. Hence, a canvas print is suitable for all kinds of walls in your home.
• Printed acrylic glass (with real glass coating): A glossy print on acrylic glass, often described as a an art print on plexiglass, will change your selected original work of art into magnificient décor and makes a viable alternative to canvas or dibond fine art replicas. The work of art is being custom-made with the help of state-of-the-art UV direct printing machines. This makes intense, stunning colors. Our acrylic glass protects your custom fine art print against light and external influences for up to 60 years.
• Printed poster on canvas material: A poster print is a printed cotton canvas paper with a slightly roughened surface structure, which resembles the actual work of art. Please keep in mind, that depending on the absolute size of the poster we add a white margin between 2-6cm round about the artwork, which facilitates the framing with your custom frame.

Important legal note: We try what we can to depict the products as exact as possible and to showcase them visually. At the same time, the colors of the printed materials and the print result can diverge marginally from the representation on the monitor. Depending on your screen settings and the nature of the surface, not all color pigments can be printed as exactly as the digital version. In view of the fact that all the art prints are processed and printed manually, there may as well be minor variations in the motif's exact position and the size.

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Structured information on the piece of art

Artist summary table

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Supplemental information from National Gallery of Art website (© - by National Gallery of Art - www.nga.gov)

When his friend Marcotte first suggested that Ingres paint Ines Moitessier, the wife of a financier and jurist, he demurred. Ingres changed his mind after being struck by her "terrible et belle tête" (terrible and beautiful head.) The author Théophile Gautier described her as "Junolike," and Ingres presents her with the imposing remoteness of a Roman goddess. Her stance is severe and strongly silhouetted, her monumental shoulders stark ivory against the somber, restricted colors around her.

Ingres insisted on painting every detail from life, so he could achieve, in his words, "the faithful rendering of nature that leads to art." With minute accuracy he has recorded the light–absorbing darkness of her lace and velvet costume, the gleam of gold jewelry, the gloss of her elaborate coiffure. The emphatic reality of these details contrasts with her unfocused gaze, contributing to the sense that she is somehow removed from life.

Ingres began to pose Madame Moitessier in the 1840s, but the work languished. This second attempt was begun after the aging artist—he was 71—had been roused from depression by the prospect of his remarriage in 1852.