It is often called the classical companion to the artist's Vow of Louis XIII and was lambasted by Champfleury as "insincere mannerism" after its installation in room nine of the Musee Charles X.
It is often called the classical companion to the artist's Vow of Louis XIII and was lambasted by Champfleury as "insincere mannerism" after its installation in room nine of the Musee Charles X. The artist himself can be seen peeping out from behind a pedestal, gazing at the central figure, which is flanked by a man holding a sword and another holding an oar in a triangular composition. Boileau, Racine and Moliere appear, but only in half-portrait, and men holding out a lyre, mallets, and scroll, represent Pindar, Phidias and Aeschylus, respectively. Based on a Hellenistic relief by Archelaus of Priene, the painter's master, David, is notably absent, but Tasso appears in the lower-left corner as does a cropped portrait of Shakespeare. FTP, name this painting by Ingres depicting the author of the Iliad being raised to godhood.
It is often called the classical companion to the artist's Vow of Louis XIII and was lambasted by Champfleury as "insincere mannerism" after its installation in room nine of the Musee Charles X.
The Apotheosis of Homer