Abstract

By the 1850s, the morbid associations of Jean-Auguste-Dominique Ingres's art were given voice by supporters and detractors alike. The examination of Ingres's depictions of ancient sculpture for the publication the Musée français (1803–12), however, unfixes the seductive connections between an ingriste sculptural metaphor and the specter of a deadening classical past. The distinctive forms of Ingres's drawings are here understood in relation to philosophical considerations of sensory experience and to evaluations of the special aesthetic experience of sculpture. This vantage point reveals the possibilities ancient sculpture held out for Ingres and emphasizes the distinctly modern terms of its allure.

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