Estimated Price:

   £   

Realised Price:

   £   

What is this symbol? This symbol indicates that this auction hose has verified this price result.

Log in or subscribe to view price data

Tˆte de Jeanne d'Arc en extase signed 'Ingres' (lower right) oil on canvas and paper laid down on panel 14 1/8 x 10 7/8 in. (36 x 27.5 cm.) possibly painted in 1862-1866 PROVENANCE Albert Ramel (Artist's brother-in-law). Amaudru Collection. LITERATURE H. Delaborde, Ingres, sa vie et ses travaux, sa doctrine, d'apr‚s les notes manuscrites et les lettres du maŒtre, Paris, 1870, p. 225. H. Lapauze, 'Jean Briant paysagiste (1760-1799), maŒtre de Ingres, et le paysage dans l'oeuvre de Ingres', Revue de l'Art Ancien et Moderne, 1911, vol. I, p. 304. G. Wildenstein, Ingres, London, 1956, p. 221, no. 275 (as Head of Joan of Arc; in the background a landscape with a church, whereabouts unkown). E. Camesasca, Tout l'oeuvre peint d'Ingres, Paris, 1971. D. Edelstein ed., In Pursuit of Perfection, the Art of J.-A.-D. Ingres, exh. cat., J.B. Speed Art Museum, Louisville Kentucky, and the Kimbell Art Museum, Fort Worth, Texas, 1984, p. 242 (mentioned as location unknown). G. Vigne, Dessins d'Ingres, catalogue raisonn‚ des dessins du Mus‚e de Montauban, Paris, 1995, p. 154 (mentioned as lost). EXHIBITION Paris, Palais de l'Ecole imp‚riale des Beaux-Arts, Travaux, ‚tudes peintes, dessins et croquis de Jean-Auguste-Dominique Ingres, 1867, no. 60. NOTES The present work will be included in the forthcoming catalogue raisonn‚ de l'oeuvre de Jean-Auguste-Dominique Ingres being prepared by the Wildenstein Institute. Ingres' interest in Joan of Arc ( c. 1412-31) began in 1844 with a series of drawings. In 1851 the artist was commissioned by the newly instituted government of Napoleon III to paint Joan of Arc at the Coronation of Charles VII (fig. 1). The painting was finished in 1854 and exhibited at the Exposition Universelle of 1855. Although Ingres was never overtly political, it is certain that the image of the maiden of Orleans, French patriot and martyr, was a potent symbol that the Second Empire could appropriate to project notions of tradition and infuse a sense of national unity in a very volatile political environment. Towards the end of his life Ingres returned to this subject. In this highly worked study which the artist began in 1862 and reworked in 1866, by extending the composition, Joan of Arc is depicted staring upwards towards what appears to be a ray of divine light gently beaming down on her and comforting her in her mission. The technically highly accomplished style of this work is typical of Ingres. It embodies the academic tradition that he taught and so staunchly defended, as well as illustrating the ease with which he borrowed from 15th century primitive oil painting. The buildings in the background, to the right, have been identified as those of the convent of Mueng-sur-Loire with its clearly visible 11th century steeple. In 1429 Joan of Arc made an heroic assault on the bridge at Meung. It is significant that Ingres was in the habit of spending his summers in this town where the brother of his second wife, Albert Ramel, was a municipal councillor. In this portrait Ingres successfully conveys a sense of the Saint's youthful beauty at the same time as expressing the solemnity of her terrifying destiny. She is still in the guise of the fragile, young peasant from Domr‚my, barely clutching her lance, but clearly announces the heraldic, accomplished warrior-saint of the Louvre's coronation painting. SALESROOM NOTICE Please note that the present work will be included in the forthcoming catalogue raisonn‚ de l'oeuvre de Jean-Auguste-Dominique Ingres being prepared by the Wildenstein Institute. Please note that the medium should read 'oil on canvas and paper laid down on panel' and not as stated in the catalogue. Please note that the provenance, exhibition history and literature should read as follows: PROVENANCE: Albert Ramel (Artist's brother-in-law). Amaudru Collection. EXHIBITED: Paris, Palais de l'Ecole imp‚riale des Beaux-Arts, Travaux, ‚tudes peintes, dessins et croquis de Jean-Auguste-Dominique Ingres, 1867, no. 60. LITERATURE: H. Delaborde, Ingres, sa vie et ses travaux, sa doctrine, d'apr‚s les notes manuscrites et les lettres du maŒtre, Paris, 1870, p. 225. H. Lapauze, 'Jean Briant paysagiste (1760-1799), maŒtre de Ingres, et le paysage dans l'oeuvre de Ingres', Revue de l'Art Ancien et Moderne, 1911, vol. I, p. 304. G. Wildenstein, Ingres, London, 1956, p. 221, no. 275 (as Head of Joan of Arc; in the background a landscape with a church, whereabouts unknown). E. Camesasca, Tout l'oeuvre peint d'Ingres, Paris, 1971. D. Edelstein ed., In Pursuit of Perfection, the Art of J.-A.-D. Ingres,, exh. cat., J.B. Speed Art Museum, Louisville, Kentucky, and the Kimbell Art Museum, Fort Worth, Texas, 1984, p. 242 (mentioned as location unknown). G. Vigne, Dessins d'Ingres, catalogue raisonn‚ des dessins du Mus‚e de Montauban, Paris, 1995, p. 154, (mentioned as lost).