Jupiter and Thetis

Jean Auguste Ingres
Jupiter and Thetis, Jean-Auguste Dominique Ingres, 1811  
By NAYOUNG KWON

Jupiter and Thetis is based on the book of Iliad that begins with those who participated in the Trojan war, Agamemnon and Achilles. In their honor and bravery, Agamemnon, the king of Achaeans, and Achilles, the son of a sea nymph Thetis, both receivesprizes. Agamemnon, must give up his prize (Chryseis) in order to prevent a mass famine; Achilles was forced to give up his war prizes to Agamemnon. Feeling disrespected, Achilles prays to Thetis for his sorrow of losing his honor, and he begs his mother to speak to Zeus. Thetis manages to speak to Zeus and convinces him to do what she wishes.

Ingres portrays contrast between female and male power in the painting. This can be seen through the delicate and curviness of Thetis's body and the broad, muscular body of Zeus. It shows the dominance of male over female. However it's interesting how Thetis easily manipulates Zeus by her erotic hand gestures. She is gently stroking his beard and she's leaning closely onto him as Hera watches them. The triangular composition in the center of the painting slightly suggests triumph of Zeus's power, and halo-like faint black lines can be in the back of Zeus's head. The eagle resembles Zeus representing that the animal sees everything like the God himself. The color of Thetis's dress compliments the red cloth of Zeus and also contrasts the cobalt-blue sky. 
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La Grande Odalisque

Elizabeth Ellis
Jean Auguste Dominique Ingres, La Grande Odalisque, 1814
By ELIZABETH ELLIS

Dear Mom,

This year I'm gifting you with La Grande Odalisque by Jean Auguste Dominique Ingres. I'll never forget seeing the work in the Louvre with you and how you proclaimed it your favorite. At the time, I thought the painting was good, unremarkable, but good. It just couldn't compare to the rest of the magnificent pieces of featuring Napoleon that lined the gallery, bright reds, wild horses, and bold detailing.

Looking back on it now, I can see why you would have liked it. Her demure gaze remarks upon your entrance into her room while also dismissing you in a single glance, daring you to criticize her nudity. She is a proud woman with her hair swept off of her slim neck, the sumptuous furs, feather fan, and thick curtains that shine, even as she shows her weaknesses: the soft curve of her back as she uses her elbow to get up and the delicate touch and shadows of her feet. She is the ultimate dichotomy of a woman, both powerful and gentle at the same time.

And finally, just so you know, an odalisque is the word for a concubine in French. I've chosen to give you this painting to put up in the living room so that whenever relatives come over, we have something to talk about that's not politics or my college search.

Your loving daughter, 

Elizabeth     
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Paolo and Francesca

Jean Auguste Ingres


Jean-Auguste-Dominique Ingres, Paolo and Francesca, 1819
By REID GUEMMER

Paolo and Francesca: lovers condemned to eternal damnation for their adultery. Told by Dante, Francesca was married to Gianciotto, brother of Paolo, for supposed political reasons. After finding Paolo sneaking out of Francesca’s window, Gianciotto attempts to stab him. Francesca throws herself in front of Gianciotto’s sword, killing her. Gianciotto then successfully kills Paolo as well.

The French Revolution brought a collection of new and daring ideals. The public began rejecting the past oppression and current demands of their rulers. Although Ingres held an odd desire to paint people such as Napoleon, even before portraits of him were commissioned. As his career continued he began experimenting with new techniques, ones that critics were not accepting of. The same drive that pushed Ingres to paint portraits of Napoleon might’ve been present in his decision to create Paolo and Francesca. Stylistically, the painting is nothing new. Although the couple displays affection towards one another despite both already being wed. The concept of adultery may not be a good one, but during the next hundred and fifty years it becomes a new normal, as do many of the ideas originating from the French Revolution.

The color scheme in which Paolo is dressed, all bright, vibrant colors represent passion. While the curtain, blood red, represents death. Francesca, who sacrifices herself to protect Paolo wears a lighter shade of red while the killer wears a much darker shade. The color is inescapable.
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Odalisque with a Slave

Jean Auguste Ingres
Jean Auguste Ingres, Odalisque with a Slave 1842

Odalisque With Slave 1839
Clearly one can see the neoclassical touches here: the architecture, style (including the slave and her garb and Odalisque's accessories), and the fact that Ingres thought it was good enough to paint it twice. This (the top) is the later, Ingres painting this one with two of his students. I liked the 1842 one more because of the addition of the garden, even though Ingres had no hand in painting the garden. There isn't much difference at all between the two, and depth of the garden isn't night and day for me, but I do appreciate it more because it shows off a bit more talent. 

The story from this pieces comes from Lady Mary Wortley Montagu's Turkish Letters in 1763. I read some of her letters of her travels for a while. The woman had some pretty great adventures. Though I couldn't find the exact part referencing her being serenaded in a bedroom, I did find her writing about her time at the Turkish Baths, though:

 "In one of these cover'd Waggons I went to the Bagnio about 10 a clock. It was allready full of Women. It is built of Stone in the shape of a Dome with no Windows but in the Roofe, which gives Light enough. There was 5 of these domes joyn'd together, the outmost being less than the rest and serving only as a hall where the portress stood at the door. Ladys of Quality gennerally give this Woman the value of a crown or 10 shillings, and I did not forget that ceremony. The next room is a very large one, pav'd with Marble, and all round it rais'd 2 Sofas of marble, one above another. There were 4 fountains of cold Water in this room, falling first into marble Basins and then running on the floor in little channels made for that purpose, which carry'd the streams into the next room, something less than this, with the same sort of marble sofas, but so hot with steams of sulphur proceeding from the baths joyning to it, twas impossible to stay there with one's Cloths on. The 2 other domes were the hot baths, one of which had cocks of cold Water turning into it to temper it to what degree of warmth the bathers have a mind to."- Lady Mary Wortley Montagu, 1 April 1717. 

This scene sets the tone that I see painted here, I can see the lavishness of the Baths and the heat and luxury odalisque is in. She has a face of peace and exhaustion about her, I can't tell if this is because she is being sung to sleep or because she is hot and tired. Either way, I see her just having gotten out of the baths and enjoying her Turkish adventure. even though I know that the painting was commissioned by King Wilhelm I of Wurttemburg this story creates a larger escape for me. Executed well and a fine product for its time, Ingres' Odalisque with Slave is brilliantly colorful and interesting.  

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