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*Jean Auguste Dominique Ingres (1780-1867) portrait of jean-louis provost. Signed and dated: Ingres. Rome 1813. Graphite, heightened with white. 184 by 135mm. Provenance: Albert Goupil (by 1884 or earlier), his sale, Hotel Drouot, Paris, April 23-27, 1888, lot 343, 650 francs to P. Mathey; P. Mathey; by descent to his son Jacques Mathey; H. M. Calmann, London, by 1959; Lore and Rudolf Heinemann. Exhibited: Paris, Ecole des Beaux-Arts, Dessins de l'Ecole moderne, 1884, cat. 397; Paris, Galeries Georges Petit, 1991, cat. 84; Paris, Chambre syndicale de la Curiosite et des Beaux-Arts, Ingres, 1921, cat. 67; Paris, Galerie Jacques Seligman, Portraits par Ingres et ses eleves, 1934, cat. 15; Paris, Galeries Marcel Guiot, Le portrait dessine au XIXe siecle, 1937, cat. 8

*Jean Auguste Dominique Ingres (1780-1867)
portrait of jean-louis provost.
Signed and dated: Ingres. Rome 1813.
Graphite, heightened with white.
184 by 135mm.
Provenance: Albert Goupil (by 1884 or earlier), his sale, Hotel Drouot, Paris, April 23-27, 1888, lot 343, 650 francs to P. Mathey; P. Mathey; by descent to his son Jacques Mathey; H. M. Calmann, London, by 1959; Lore and Rudolf Heinemann. Exhibited: Paris, Ecole des Beaux-Arts, Dessins de l'Ecole moderne, 1884, cat. 397; Paris, Galeries Georges Petit, 1991, cat. 84; Paris, Chambre syndicale de la Curiosite et des Beaux-Arts, Ingres, 1921, cat. 67; Paris, Galerie Jacques Seligman, Portraits par Ingres et ses eleves, 1934, cat. 15; Paris, Galeries Marcel Guiot, Le portrait dessine au XIXe siecle, 1937, cat. 8; Paris, Galerie Berheim-Jeune, Cent-cinquante ans de dessins, 1952, cat. 90; New York, Pierpont Morgan Library, Drawings from the Collection of Lore and Rudolf Heinemann, 1973, cat. 17, illus. Literature: A. Michel, 'Exposition des dessins du siecle', Gazette des Beaux-Arts, April 1884, p. 318; E. Monlinier, 'La Collections Albert Goupil', Gazette des Beaux-Arts, May 1885, p. 389; H. Lapauze, Ingres, Paris 1911, p. 128, illus.; A. Alexandre, 'L'ame du dessin mise a nu', in La Renaissance de l'art francaise, Paris, March 1926, pp. 134-35, illus.; J. Mathey, Ingres, Paris 1945, pp. 11-12, illus.; J. Mathey, Ingres, dessins, Paris 1955, cat. 7, illus.; A. Mongan and H. Naef, Ingres Centennial Exhibition, Greenwich, Conn. 1967, under cat. 23; Ingres, exh. cat. Paris, Petit Palais, 1967-68, under cat. 58; E. Raidius and E. Camesasca, Opera completa di Ingres, Milan 1968, p. 122, illus.; D. Ternois and E. Camesasca, Tout l'oeuvre peint d'Ingres, Paris 1971, p. 122, illus.; H. Naef, Die Bildniszeichnungen von J.A.D. Ingres, Berne 1977, vol. I, under cat. 37, vol. IV, cat. 94; P. Bjurstrom, The Art of Drawing in France, exh.cat., New York, The Drawing Centre, 1987, p.175, illus. As the inscription records, this was executed in Rome in 1813. The architect Provost had won the Prix de Rome and moved there in 1811. A first drawing of him by Ingres, seated with his fellow student Achille Leclere, was made in 1812 (now at the Smith College Art Museum, Northampton, Massachusetts). The present portrait is more informal both in style and in the sitter's expression. Ingres had left for Rome in 1806, with a government stipend from winning the Prix de Rome. He resided in the Villa Medici, the seat of the Academie de France for his first few weeks and, as his letters record, missed France and his new betrothed Julie, only becoming absorbed in the city once he had established himself in the world of the other students and artists who lived there, and had begun fully to appreciate how the city overflowed with beauty. The French community became the mainstay of his clientele and once he had decided to stay on in Rome, his work as a portraitist was fundamental to his survival there. *Jean Auguste Dominique Ingres (1780-1867)
portrait of jean-louis provost.
Signed and dated: Ingres. Rome 1813.
Graphite, heightened with white.
184 by 135mm.
Provenance: Albert Goupil (by 1884 or earlier), his sale, Hotel Drouot, Paris, April 23-27, 1888, lot 343, 650 francs to P. Mathey; P. Mathey; by descent to his son Jacques Mathey; H. M. Calmann, London, by 1959; Lore and Rudolf Heinemann. Exhibited: Paris, Ecole des Beaux-Arts, Dessins de l'Ecole moderne, 1884, cat. 397; Paris, Galeries Georges Petit, 1991, cat. 84; Paris, Chambre syndicale de la Curiosite et des Beaux-Arts, Ingres, 1921, cat. 67; Paris, Galerie Jacques Seligman, Portraits par Ingres et ses eleves, 1934, cat. 15; Paris, Galeries Marcel Guiot, Le portrait dessine au XIXe siecle, 1937, cat. 8; Paris, Galerie Berheim-Jeune, Cent-cinquante ans de dessins, 1952, cat. 90; New York, Pierpont Morgan Library, Drawings from the Collection of Lore and Rudolf Heinemann, 1973, cat. 17, illus. Literature: A. Michel, 'Exposition des dessins du siecle', Gazette des Beaux-Arts, April 1884, p. 318; E. Monlinier, 'La Collections Albert Goupil', Gazette des Beaux-Arts, May 1885, p. 389; H. Lapauze, Ingres, Paris 1911, p. 128, illus.; A. Alexandre, 'L'ame du dessin mise a nu', in La Renaissance de l'art francaise, Paris, March 1926, pp. 134-35, illus.; J. Mathey, Ingres, Paris 1945, pp. 11-12, illus.; J. Mathey, Ingres, dessins, Paris 1955, cat. 7, illus.; A. Mongan and H. Naef, Ingres Centennial Exhibition, Greenwich, Conn. 1967, under cat. 23; Ingres, exh. cat. Paris, Petit Palais, 1967-68, under cat. 58; E. Raidius and E. Camesasca, Opera completa di Ingres, Milan 1968, p. 122, illus.; D. Ternois and E. Camesasca, Tout l'oeuvre peint d'Ingres, Paris 1971, p. 122, illus.; H. Naef, Die Bildniszeichnungen von J.A.D. Ingres, Berne 1977, vol. I, under cat. 37, vol. IV, cat. 94; P. Bjurstrom, The Art of Drawing in France, exh.cat., New York, The Drawing Centre, 1987, p.175, illus. As the inscription records, this was executed in Rome in 1813. The architect Provost had won the Prix de Rome and moved there in 1811. A first drawing of him by Ingres, seated with his fellow student Achille Leclere, was made in 1812 (now at the Smith College Art Museum, Northampton, Massachusetts). The present portrait is more informal both in style and in the sitter's expression. Ingres had left for Rome in 1806, with a government stipend from winning the Prix de Rome. He resided in the Villa Medici, the seat of the Academie de France for his first few weeks and, as his letters record, missed France and his new betrothed Julie, only becoming absorbed in the city once he had established himself in the world of the other students and artists who lived there, and had begun fully to appreciate how the city overflowed with beauty. The French community became the mainstay of his clientele and once he had decided to stay on in Rome, his work as a portraitist was fundamental to his survival there.