JEAN-AUGUSTE-DOMINIQUE
INGRES
Montauban 1780-Paris 1867
Ingres studied art first with his father and then, in 1791,
at the Academic des Beaux-Arts, Toulouse. He entered
David's Parisian studio in 1797 and won the Prix de Rome
in 1801, though he did not leave for Italy until 1806.
Ingres earned a living painting portraits such as Made-
moiselle Riviere (1805; Paris, Louvre), in which his sen-
suous line and extraordinary ability to describe the sitter's
individual features are fully evident. The narrative paint-
ings he created in Italy to be sent to France, including Oe-
dipus and the Sphinx (1808; Paris, Louvre), elicited severe
criticism for their realism, and he remained in Italy for
another sixteen years. He settled in Florence in 1820 and
in the same year received a commission from the cathe-
dral of Montauban for the Vow of Saint Louis XIII (1820 -
1824), his first great success at the Salon. Ingres returned
to Paris in 1824 and was elected to the Academic in 1825,
achieving recognition as a champion of Classicism
against the Romantic movement. He was in Rome again
from 1835 to 1841 as the director of the French academy.
During his last years in Paris, he continued to produce
works of great beauty, including The Turkish Bath
(1859-1860; Paris, Louvre).INNOCENZO DA IMOLA
Imola 1485-Bologna 1548
Sponsored by the commune of Imola, Innocenzo moved
to Bologna in 1506 to train with the painter Francesco
Francia. The young artist probably traveled around 1509
to Florence, where he worked for several years with
Mariotto Albertinelli. In addition to Albertinelli, Inno-
cenzo was particularly influenced by Fra Bartolommeo,
Raphael, and Andrea del Sarto. His Annunciation (circa
1515-1520; Bologna, Santa Maria dei Servi) reveals his
first-hand assimilation of the Florentine traditions of
form, color, and composition. Returning to Bologna in
1517 , Innocenzo opened his own studio and began an ac-
tive career executing numerous local commissions that
included the Madonna in Glory with Saint Michael (Pina-
coteca Nazionale), the Mystic Marriage of Saint Catherine
(1536; San Giacomo Maggiore), and the mythological
fresco decorations for Cardinal Bonifacio Ferrari's Pal-
azzino della Viola (1540-1543).JACOB JORDAENS
Antwerp 1593-1678
Jordaens was recorded in the Antwerp guild of Saint
Luke in 1607 as a pupil of Adam van Noort and became
a master in the guild in 1615. The following year he mar-
ried Catharina van Noort, the daughter of his teacher. In
1635 he participated in the decoration of Antwerp for the
triumphal entry of the Cardinal Infant Ferdinand, and in
1636-1637 he helped execute paintings for the Torre de
la Parada after designs by Rubens. During his later career
Jordaens received commissions from Charles I, Queen
Christina of Sweden, and Amalia van Solms, widow of
the Dutch stadtholder, for whom he executed The
Triumph ofFrederik Hendrik (1652) to be hung in Huis ten
Bosch outside The Hague. In addition to religious and
historical scenes, Jordaens produced portraits and exu-
berant genre scenes, such as The King Drinks (Brussels,
Musees Royaux des Beaux-Arts de Belgique), and be-
came the leading painter in Antwerp after Rubens' death.PIETER LASTMAN
Amsterdam 1583-1633
After studying with Gerrit Pietersz. in Amsterdam,
around 1603 -1604 Lastman traveled to Italy, where he
was influenced by Venetian and Roman painting as well
as the art of Adam Elsheimer. In 1607 he is again reported
in Amsterdam, where he remained until his death. Last-
man is counted among the city's most important painters
in the Knight Rodenburgh's laudatory poem on Am-
sterdam of 1618. Exclusively a history painter, Lastman
was attracted to dramatic incidents such as conversa-
tions, meetings, and miracles, often taken from the Bi-
ble, especially the Old Testament, as can be seen in David
and Uriah (1619; Groningen, Groninger Museum, on
loan from the Hague, Dienst voor's Rijksverspreide
Kunstvoorwerpen). His work profoundly influenced
Rembrandt, who was his pupil in 1623/24. Lastman's ar-
tistic production is well known today, with dated .paint-
ings existing at nearly regular two-year intervals from
1606 through 1631. He was the most important member
of the Pre-Rembrandtists, whose work laid the foun-
dation for the development of history painting in
seventeenth-century Holland.LEONARDO DA VINCI
Vinci 1452-Amboise 1519
Leonardo da Vinci's career embraced the arts of painting,
sculpture, architecture, and music. His interests also in-
cluded a variety of sciences, as is evidenced in his note-
books. He was apprenticed to Andrea del Verrocchio,
one of the leading painter/sculptors of the fifteenth cen-
tury. Leonardo's youthful Florentine paintings include
the portrait of Ginevra de' Benci (circa 1474; Washing-
ton, D.Cf, National Gallery of Art) and the unfinished
Adoration of the Kings (1481-1482; Florence, Uffizi). In
1481 or 1482 Leonardo moved to Milan to work at theARTISTS BIOGRAPHIES 343