Lors de son exposition en 1833 il a été comparé à ceux peints par Balthasar Denner dans la minutie du traitement des textures de la peau et des étoffes[8]. In the view of art historian Robert Rosenblum, his "nearly ferocious presence" is accentuated by the tightly constrained space. Neoclassicism in French art had developed as artists saw themselves as part of the cultural center of Europe, and France as the successor to Rome. Voir Partager Ajouter ce contenu. Gerald Kelly recalled Bertin when painting his restless and confined series of portraits of Ralph Vaughan Williams between 1952 and 1961. La dernière modification de cette page a été faite le 2 décembre 2020 à 01:18. [44] Some compared it to Balthasar Denner, a German realist painter influenced by Jan van Eyck. [44] She notes that there is a certain amount of projection of the artist's personality and recalls Théophile Silvestre's description of Ingres; "There he was squarely seated in an armchair, motionless as an Egyptian god carved of granite, his hands stretched wide over parallel knees, his torso stiff, his head haughty". Le photographe Gregory Patrick Garvey qui fait un portrait de Vlada Petric posant dans l'attitude de François Bertin, attitude reprise aussi par Christina Holdgaard Monsieur Hauter (2007) et Didier Lapène Matthieu (2008)[15]. Once started, the painting took about a month to complete, with Ingres making numerous visits to Bertin's estate, Le Chateau des Roches, in Essonne. Fondateur du Journal des Débats , Monsieur Bertin est devenu, grâce à Ingres, l'image-type de cette bourgeoisie triomphante de 1830. D'autres influences chez Derain, ou dans le portrait d'Auguste Pellerin par Matisse, et plusieurs portraits de Modigliani[12]. L'énergie se lit dans l'expression de son visage et dans son attitude familière, les mains sur les genoux, prêt à bondir. Henri Delaborde said Ingres observed Bertin in this posture while arguing politics after dinner with his sons. La dernière propriétaire est leur fille Cécile (veuve de Georges Patinot, également directeur des Débats), qui vendit le portrait au Louvre en 1897. Ingres was finally able to finish the portrait when he came across Bertin sitting at an outside café in the exact pose, after which he easily completed the portrait. [3] In either case the genesis of the commission is unknown. Suppression; Neutralité; Droit d'auteur; Article de qualité ; Bon article; Lumière sur; À faire; Archives; La dernière modification de cette page a été faite le 3 septembre 2011 à 19:17. "Portrait de monsieur Bertin", Jean-Auguste-Dominique Ingres, 1832 - huile sur toile [116 × 96 cm] (musée du Louvre) [4] Ingres was sufficiently intrigued by Bertin's personality to accept the commission. [7] Romantic painting was freer and more expressive, preoccupied more with colour than with line or form, and more focused on style than on subject matter. Dans ces deux exemples, on retrouve la pose de trois quarts, la composition pyramidale et l'accent mis sur le visage et, dans le … Commandé et acquis par François Bertin en 1832, il est légué à sa fille Louise Bertin après sa mort. L'homme est âgé à l'époque de 66 ans (il est né en 1766), il a les cheveux gris clair presque blancs, le visage de face d'une expression à la fois dure et ironique regarde le spectateur. Voir la réponse de ce quizz. Aussi Ingres tout heureux de cette conquête inattendue s'empressa-t-il de la mettre à profit, et s'adressant à M. Bertin au moment de le quitter : « Votre portrait est fait, lui dit-il. Discussion:Portrait de monsieur Bertin. Aware of Bertin's support of the July Monarchy, writers at the La Gazette de France viewed the portrait as the epitome of the "opportunism and cynicism" of the new regime. Bertin was a friend and a politically active member of the French upper-middle cla… "[23] The bulk of his body is compacted in a tight black jacket, black trousers and brown satin waistcoat, with a starched white shirt and cravat revealing his open neck. Le modèle, Louis-François Bertin dit Bertin l'aîné, était le directeur du Journal des débats. Le caractère spontané et trivial de la posture éloigné des poses académiques, rappelle certains portraits de son maître David, comme celui de Philippe Laurent de Joubert[10], ou celui du Comte Français de Nantes[11], et le portrait d'Étienne Jeaurat par Greuze[9]. Commentaires. [1] He befriended Ingres either through his son Édouard Bertin, a student of the painter,[2] or via Étienne-Jean Delécluze, Ingres' friend and the Journal's art critic. Most were lavish in their praise, although Louis Lacuria confided to a friend that he feared people might "find the colouring a bit dreary". It is barely discernible, but adds spatial depth. \"je trouve bien osé de dépeindre un « ressenti » (le mot est atroce) qui ne nous apporte finalement que votre chambre à coucher !\" Portrait de M. Bertin d'après Ingres. "Monsieur Bertin", Ingres Volume 10 of Collection Solo Volume 10 of Solo (Paris) Authors: Daniel Ternois, Musée du Louvre. In the later painting, David shows tiny glints of light reflecting on the sitter's chair and painstakingly details "every wayward curl of [Sieyès'] closely cropped auburn hair. In: Tinterow, Gary; Conisbee, Philip (eds). Le tableau fait partie des collections de peintures françaises du musée du Louvre (inventaire RF 1071). Ingres' portrait of Bertin was a critical and popular success, but the sitter was a private person. C'est une de ses œuvres les plus célèbres. "[24] The comparison was made by Ingres' admirers and detractors alike. Le Portrait de monsieur Bertin est un tableau peint par Jean-Auguste-Dominique Ingres en 1832 et qui représente Louis-François Bertin, directeur du Journal des Débats. The next extant drawing shows Bertin seated, but the chair is missing. It has been on permanent display at the Musée du Louvre since 1897. Ingres completed the portrait during his first period of success; having achieved acclaim as a history painter, he accepted portrait commissions with reluctance, regarding them as a distraction from more important work. [13], Ingres seems to have adapted elements of the approach and technique of Hans Holbein's 1527 Portrait of William Warham, now in the Louvre. Dernières questions qui ont trouvé une réponse. [49] In 1907 the Swiss artist Félix Vallotton depicted Stein, in response to Picasso, making an even more direct reference to Ingres' portrait,[47] prompting Édouard Vuillard to exclaim, "That's Madame Bertin! Autres discussions . [40] Bertin's wife Louis-Marie reportedly did not like the painting; his daughter, Louise, thought it transformed her father from a "great lord" to a "fat farmer". Today art critics regard it as Ingres' finest male portrait. L'art contemporain détourne le tableau et propose des variations, des pastiches ou des déconstructions comme chez Ghérasim Luca avec ses Cubomanies de Monsieur Bertin (1960 collection Micheline Catti), les montages photographiques de Jiří Kolář et Roman Cieslewicz[14]. You want to start my portrait over again? [36], Monsieur Bertin was exhibited at the 1833 Salon alongside his 1807 Portrait of Madame Duvaucey. [24] This dual expression is intended to show his duality and complex personality: he is a hard-nosed businessman, and a patron of the arts. Newman, Sasha; Vallotton, Félix; Ducrey, Marina; Baier, Lesley. He wrote in 1847, "Damned portraits, they are so difficult to do that they prevent me getting on with greater things that I could do more quickly. Venez découvrir la pose magistrale de ce grand patron de presse qu'Ingres chercha longtemps avant de trouver. [40], The Bertin portrait has been hugely influential. He backed the idea of a constitutional monarchy, whic… drawing- Study for the Portrait of Monsieur Bertin(1832) - in the Ingres Museum, Montauban, and two pencil sketches in the Louvre. [46], Bertin bequeathed the portrait to his daughter Louise (1805–1877) on his death. In 1897 Cécile sold it to the Musée du Louvre for 80,000 francs. He seems engaged, and poised to speak,[27] his body fully towards the viewer and his expression etched with certainty. Category:Portrait de Monsieur Bertin - Louvre RF 1071. Test de question mail En quelle année fut créer Google? Amaury-Duval a rapporté le témoignage de François Bertin, qui évoque le moment où Ingres au bord du découragement, presque résolu à abandonner, trouve finalement la pose de son modèle : « Il pleurait, me disait M. Bertin, et je passais mon temps à le consoler. [41], Given the standings of the two men, the painting was received in both social and political terms. Ingres n'a pas avoué s'être inspiré d'œuvres qui l'auraient influencé, pour l'historien d'art allemand Uwe Fleckner, auteur d'une biographie du peintre, il ne voulait pas reconnaître publiquement qu'il avait eu recours à des emprunts d'autres artistes car cela remettait en cause le principe de l'inventio[7]. [51] In 1975 Marcel Broodthaers produced a series of nine black and white photographs on board based on Ingres' portraits of Bertin and Mademoiselle Caroline Rivière. His eyes are heavily lidded, circled by oppositely positioned twists of his white collar, the winds of his hair, eyebrows and eyelids. Ingres se lève, s'approche de moi, et me parlant presque à l'oreille : « Venez poser demain, me dit il, votre portrait est fait »[3]. Le processus de réalisation du tableau est laborieux, les premiers biographes d'Ingres Amaury-Duval et Delaborde évoquent les difficultés que le peintre a rencontrées pour saisir l'attitude idéale que devait avoir son portrait. Les premiers croquis montrent François Bertin debout accoudé contre un meuble un chapeau à la main[2]. Noté /5. « Le plus célèbre des collages d’Ingres, celui qui permet le mieux de l’imaginer au travail, c’est l’esquisse pour le portrait de Monsieur Bertin qui montre le modèle debout. "[37] Before the official exhibition, Ingres displayed the painting in his studio for friends and pupils. The portrait is a … Henri Delaborde propose une autre version de l'histoire, racontée cette fois par l'artiste lui-même, qui situe la scène non plus dans un café en plein air comme chez Amaury-Duval, mais dans le salon de la résidence de François Bertin : « Ingres a raconté à M. Reiset qu'au plus fort de ses hésitations et de ses inquiétudes, il se trouvait un soir au salon de M. Bertin. [22], Ingres, Study for the Portrait of Monsieur Bertin, 1832. The photographer and critic Félix Tournachon was harshly critical, and disparaged what he saw as a "fantastical bundle of flesh ... under which, instead of bones and muscles, there can only be intestines – this flatulent hand, the rumbling of which I can hear! [34] The frame is the original, and thought to have been designed by Ingres himself. In 1833, Louis de Maynard of the Collège-lycée Ampère, writing in the influential L'Europe littéraire, dismissed Denner as a weak painter concerned with hyperrealistic "curiosities", and said that both he and Ingres fell short of the "sublime productions of Ingres' self-proclaimed hero, Raphael. Louis-François Bertin was 66 in 1832, the year of the portrait. At least seven studies survive,[13] three are signed and dated. Mongan and Naef (1967), opposite plate 62, Portrait de Monsieur Bertin - Ingres - Louvre RF 1071, Joan of Arc at the Coronation of Charles VII, Notes on frames in the exhibition, Portraits by Ingres, Mademoiselle Rivière and Monsieur Bertin 1975, The Ambassadors of Agamemnon in the tent of Achilles, Don Pedro of Toledo Kissing Henry IV's Sword, Henry IV Receiving the Spanish Ambassador, Portrait of Caroline Murat, Queen of Naples, Portrait of Madame Marcotte de Sainte-Marie, https://en.wikipedia.org/w/index.php?title=Portrait_of_Monsieur_Bertin&oldid=980408248, Portraits by Jean-Auguste-Dominique Ingres, Paintings of the Louvre by French artists, Short description is different from Wikidata, Creative Commons Attribution-ShareAlike License. L'une des premières influences s'observe dans le portrait du prince Jérôme Napoléon par Hippolyte Flandrin qui fut l'élève d'Ingres (1860 musée d'Orsay). C'est une de ses œuvres les plus célèbres. He often took months to complete a portrait,[12] leaving large periods of inactivity between sittings. The frame closely resembles that of Raphael's c. 1514–15 Portrait of Baldassare Castiglione, a painting that influenced Ingres, especially in colour and tone. [11], Ingres was self-critical and consumed by self-doubt. Ingres, étude pour le portrait de monsieur Bertin. This portrait was the first of Ingres’ paintings that was widely well-received. The success of his The Vow of Louis XIII at the 1824 Salon marked an abrupt change in his fortunes: he received a series of commissions for large history paintings, and for the next decade he painted few portraits. Cette catégorie est remplacée par Category:Portrait de Monsieur Bertin - Ingres - Louvre RF 1071. Enfin, il fut convenu qu'il recommencerait. Par ailleurs le critique d'art du Journal des débats, Étienne-Jean Delécluze, était l'ami du peintre qu'il avait rencontré en 1797 à l'atelier de David. "[31], The Greek meander pattern at the foot of the wall is unusually close to the picture plane, confining the sitter. Portrait of monsieur Bertin by Jean Auguste Dominique Ingres (1780-1867, France) | Reproductions Jean Auguste Dominique Ingres | WahooArt.com. [16] Ingres struggled with the sketch; the head is on a square of attached paper which must have replaced an earlier cut-out version, and other areas have been rubbed over and heavily reworked. Early biographers provide differing anecdotes regarding the inspiration for the distinctive seated pose. [35] A similar frame was used for Ingres's 1854 painting of Joan of Arc at the Coronation of Charles VII. Une source possible est le portrait par Hans Holbein le Jeune de William Warham, qu'Ingres a pu voir au Louvre[7]. [14], The earliest study has Bertin standing and leaning on a table in an almost Napoleonic pose. Autre dessin montrant la pose définitive du portrait. Bertin was a friend and a politically active member of the French upper-middle class. Autre influence remarquée sur Félix Vallotton qui peint lui aussi un portrait de Gertrude Stein qui fut surnommé par Édouard Vuillard : « Ça, c'est Madame Bertin ! Portrait de monsieur Bertin; Le Bain Turc Tuveli icde Lingeropa Kolavasikya ke Valpinçon (1808), lingeks keve stama, 146 × 97 cm-Louise de Broglie Haussonville biptikya (1845), lingeks keve … [4] His hair is grey verging on white, his fingers spread across his knees. A quel peintre doit-on le "Portrait de monsieur Bertin"? En fait, après de nombreux essais de pose Ingres s'est inspiré de l'attitude d'un portrait qu'il avait dessiné en 1817 représentant le peintre Charles Thevenin[6]. Il est aussi fait référence aux primitifs flamands dans l'accentuation de détails aussi minimes que le reflet de la fenêtre sur l'accoudoir du fauteuil, tel que Jan van Eyck ou Hans Memling ont pu les traiter[10]. Although his family worried about caricature and disapproved, it became widely known and sealed the artist's reputation. Ingres completed the portrait during his first period of success; having achieved acclaim as a history painter, he accepted portrait commissions with reluctance, regarding them as a distraction from more important work. The reflection of a window can be seen in the rim of Bertin's chair. Ingres fut probablement mis en contact avec le directeur par l'intermédiaire de son fils Édouard Bertin, qui était élève du peintre depuis 1827[1]. [25] In 19th-century art, vivid colour was associated with femininity and emotion; male portraiture tended towards muted shades and monochrome. [15] His hard, level stare is already established, but the focus seems to be on his groin rather than his face. Voir l'oeuvre analysée est très intéressant. It depicts Louis-François Bertin (1766–1841), the French writer, art collector and director of the pro-royalist Journal des débats. [39] It was routinely faulted for its "purplish tone"—which the ageing of the oil medium has transformed over time to warm greys and browns. Their anonymous critic excitedly wondered "what bitter irony it expresses, what hardened skepticism, sarcasm and ... pronounced cynicism". Monsieur Bertin est assis, les mains posées sur les genoux, et il nous regarde. '"[20][21] Bertin's final pose reverses the usual relationship between the two men. Quelle est le plus grand pays d'Afrique? Une page de Wikimedia Commons, la médiathèque libre. [5] Ingres later made drawings of the Bertin family, including a depiction of his host's wife and sketches of their son Armand and daughter-in-law, Cécile. His invoking of Bertin can be read as a humorous reference to, according to Robert Rosenblum, "Stein's ponderous bulk and sexual preference". Sur un fond brun éclairé sur la droite du tableau, la silhouette massive de François Bertin se détache, il est assis de trois-quarts sur un fauteuil dont on voit un accoudoir. His 1814 Portrait of Madame de Senonnes was described as "to the feminine what the Louvre's Bertin is to the masculine". It depicts Louis-François Bertin (1766–1841), the French writer, art collector and director of the pro-royalist Journal des débats. Ingres’s masterful characterization of his pugnacious sitter, along with the portrait’s mesmerizing realism, earned him popular … His facial expression, casual pose, and hands resting on his knees radiate a barely contained energy; he looks poised to spring into action. With Bertin, he agonised in finding a pose to best convey both the man's restless energy and his age. Assis dans un fauteuil, un homme âgé d'une soixantaine d'années, aux cheveux gris-blanc, au corps trapu, dans un costume sombre, nous fait face et nous regarde intensément. They bequeathed it to their niece Cécile Bapst, its last private owner. He showed his ambitious history painting The Martyrdom of Saint Symphorian at the 1834 Salon, but it was harshly criticised; even Ingres' admirers offered only faint praise. A stocky, gray-haired man of about 60 sits gazing intensely at the viewer. [45] Offended and frustrated, Ingres declared he would disown the Salon, abandon his residence in Paris for Rome, and relinquish all current positions, ending his role in public life. It met with near universal praise to become his most successful artwork to that point. Picasso se souvient du portrait de Monsieur Bertin quand en 1905-06, il fait celui de Gertrude Stein ou en pleine période cubiste celui de M. Kahnweiler. He is physically imposing and self-assured, but his real-life personality shines through – warm, wry and engaging to those who had earned his trust. Il est conservé au musée du Louvre. Rien de plus naturel et de plus expressif, rien de plus conforme au caractère du personnage que cette apparence d'une force sûre d'elle-même et d'une bonhomie un peu impérieuse.