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Posted by Ottehey
On: 2008-05-03 17:10:40
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The direct simplicity of the Italian’s compositions and the religious intensity shown without overly emotionalizing the scene, appealed to his French patrons. Religious art was no longer suppressed after the return of the monarchy in France. Several of his commissions are on display here and the influence of Raphael is evident most strongly in Le Voeu de Louis XIII, 1824 (shown above), where he borrowed the composition of Raphael’s Sistine Madonna. Why mess with a sure thing? Apparently not particularly interested in inventive compositions, Ingres was content to repeat a successful composition rather than improve upon it or do variations. You may already know The Madonna of the Host, 1854, from its place on the ground floor at the Orsay. That painting and two others just like it are included here.

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