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Contents
List of Illustrations
Acknowledgments
Introduction
1 The Ingriste Portrait as History
2 Ingres’s Studio and the Subjects of Art
3 Julie Mottez, Rome, and Ingriste Myths of Origin
4 Marie d’Agoult, the Aesthetics of Androgyny, and the Apotheosis of Ingrisme
5 Ingres’s Studio Between History and Allegory: Rachel, Antiquity, and Tragédie
Conclusion
Notes
Selected Bibliography
Index
“Betzer frames Ingres as an innovator whose contributions surpassed struggles waged on academic terrain. By probing the distinction between academic and ingriste, established via the portrait-as-history and negotiated through the bodies of Ingres’s female sitters, Betzer rejects old criticisms to establish ingriste practice as a crucial bridge to modernity, an idea forwarded by her conclusion’s examination of Edgar Degas’s The Bellelli Family (1858-67) as a history portrait. In this handsomely illustrated and persuasively written text, however, Betzer’s true contribution lies in her excavation of Ingres’s frequently dismissed students, many of whom have received relatively minimal critical consideration in the art historical literature.”
—Mary Manning, Nineteenth-Century French Studies
