art.wikisort.org - Peinture
Raphaël et la Fornarina est un tableau peint par Jean-Auguste-Dominique Ingres en 1814. Appartenant à sa période troubadour, l'œuvre représente le peintre Raphaël et son premier amour, la Fornarina.
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| Artiste | |
|---|---|
| Date |
1814 |
| Type |
Peinture d'histoire |
| Technique |
peinture à l'huile sur toile |
| Lieu de création |
France |
| Dimensions (H × L) |
66 × 54 cm |
| Mouvement |
Style troubadour |
| No d’inventaire |
1943.252, 1943.252 |
| Localisation |
Fogg Art Museum, Cambridge |
À l'origine Ingres avait projeté de réaliser une série de peintures évoquant les épisodes de la vie de Raphaël, mais seuls deux tableaux furent menés à bien, celui-ci et Le cardinal Bibbiena offrant sa nièce en mariage à Raphaël. Le peintre fit de cette scène plusieurs versions, la plus ancienne localisée à Riga et datée de 1813 a disparu en 1941, une deuxième version de 1814, se trouve au Fogg Art Museum, deux autres versions se trouvent dans des collections privées, et une dernière fait partie des collections du Columbus Museum of Art .
collection privée
Columbus Museum of Art
Bibliographie
- Daniel Ternois, Ingres, Paris, Fernand Nathan, , 192 p. (ISBN 2-09-284557-8)
- Robert Rosenblum, Ingres, Paris, Cercle d'Art, coll. « La Bibliothèque des Grands Peintres », (ISBN 2-7022-0192-X)
Portail de la peinture 
Portail du néo-classicisme 
Portail des années 1810 
Portail de la France au XIXe siècle 
Portail du Massachusetts
На других языках
[en] Raphael and La Fornarina
Raphael and La Fornarina was painted in 1813, in Italy, by Jean-Auguste-Dominique Ingres.[1] It is the first of five versions of the painting, which he completed between 1813 and his death in 1867.[2] In 1814 his first version was exhibited at the Salon.[3] The work shows the renowned painter, Raphael, sitting in his studio with his mistress, La Fornarina (the baker), on his knee. His embrace reflects his affection and desire for her, while his gaze towards his own artwork, his portrait of his mistress, indicates his love for art.[4] This contrast represents the painter's major conflict between who he loves and what he loves.[4] The mistress makes eye contact with the viewer and her posture, specifically her arms resting on his shoulders, shows how proud and satisfied she is with being his mistress and inspiration.[4] The Fornarina's sensual gaze at the viewer claims her importance and place both within the artist's studio and profession.[5] Although Ingres thoroughly researched the Renaissance artist's life through biographies by Giorgio Vasari and Angelo Comolli, and planned to create a series of paintings based on his life, in the end he only produced two scenes: Raphael and La Fornarina (and its succeeding versions) and the Betrothal of Raphael.[6] The depiction of the Fornarina resembles not only the Virgin Mary in the painting in the background of the Madonna della seggiola, but also Ingres's depiction of the promiscuous Grande Odalisque.[7] The parallel highlights a connection between Raphael and Ingres as they both paint what they desire.[8]- [fr] Raphaël et la Fornarina
[it] Raffaello e la Fornarina
Raffaello e la Fornarina (Raphaël et la Fornarina) è un dipinto di Jean-Auguste-Dominique Ingres. Rappresenta Raffaello Sanzio, il massimo artista ispiratore di Ingres, nel proprio studio con Margherita Luti, la più famosa delle sue modelle, soprannominata "La Fornarina" e da lui immortalata in un celebre ritratto, che si intravede - appena completato - all'estrema destra della composizione.[1] In secondo piano, collocata su un mobile appoggiato alla parete di fondo, si trova invece un'altra opera del maestro italiano, la Madonna della Seggiola.[2]Другой контент может иметь иную лицензию. Перед использованием материалов сайта WikiSort.org внимательно изучите правила лицензирования конкретных элементов наполнения сайта.
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