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Jean-Baptiste-Camille Corot - Marietta, or Roman Odalisque
Jean-Baptiste Carpeaux - Mademoiselle Fiocre
Louis-Ferdinand  Lachassaigne - Vase - Van Dyck painting his first canvas
Charles Durand dit Carolus-Duran - Mademoiselle de Lancey
Jean-Auguste-Dominique Ingres - Francis I Receives the Last Breaths of Leonardo da Vinci
Eugène Delacroix - Combat of the Giaour and the Pasha
Jacob Mardochée known as Jacob Petit - Mameluke clock
Jean-Baptiste Carpeaux - Buste de Samuel Welles de La Valette
Gustave Courbet - Courbet au chien noir
Édouard Manet - Portrait of Théodore Duret
Louis Léopold Boilly - Portrait of Mademoiselle Athénaïs d’Albenas
Paul Gauguin - Old Man with a Stick
Jean-Baptiste Carpeaux - Ugolino
Jan  Van Beers   - Les funérailles de Charles le Bon, Comte de Flandre, célébrées à Bruges dans l’église Saint-Christophe le 22 avril 1127
Gustave Courbet - La sieste pendant la saison des foins (montagne du Doubs)
Alfred de Dreux - Portrait of Mr and Mrs Mosselman and their two daughters
Jean-Désiré Ringel d'Illzach - Portrait of Jeanne et Mrs Albert Dammouse
Octave  Penguilly L’Haridon  - Côtes de Belleville
Gustave Doré - The Vale of Tears
Gustave Doré - L’Ascension
Camille  Pissarro - Le Pont Royal et le Pavillon de Flore
Paul Delaroche - Portrait d'Horace Delaroche

Francis I Receives the Last Breaths of Leonardo da Vinci

Jean-Auguste-Dominique
Ingres
Montauban, 1780 – Paris, 1867
1818
Oil on canvas
40 x 50,5 cm

Following his stay in Rome as a guest at the French Academy, Ingres stayed in Italy until 1824. The painter then made a living from portrait commissions and painted small historical scenes for private customers.

He painted the death of Leonardo, with Francis I receiving his last breaths, for the Count de Blacas, ambassador of Louis XVIII and an influential figure during the Restoration. The work has a troubadour feel and was freely inspired by French history seen from the angle of an edifying anecdote.

We know that Leonardo, who had come to France at the invitation of Francis I, died in Amboise in 1519. The undoubtedly fictitious story of his death in the presence of the king comes from The Lives by Vasari. This work, which appeared in 1550, celebrates the excellence of Italian painting following an ascending curve that starts with Cimabue and ends with Michelangelo and Raphael.

Having dropped out of his studies at a young age, the painter relied more on his exceptional visual memory than his literary knowledge to compose historical subjects. He in fact used various famous paintings exhibited at the Louvre Museum as models to represent the characters in the scene. The use of iconographic citation can be clearly seen in the face of Francis I, transposed from the portrait painted by Titian in 1538. The figure of the dying Leonardo is a typically “Ingresque” creation on the other hand, with the expressive contortion of the neck and subtle colour scheme.

In the style of Romantic theatre, in one scene Ingres combined the sublime emotion inspired by the death of the hero with a diversion provided by more anecdotal characters, who restore the picturesque quality of en era.

Marks Inscriptions Hall-marks: 
Signed and dated bottom left : Ingres Pint. 1818
Inventory number: 
PDUT01165
Inventory number : PDUT01165
Acquisition details : Purchase, 1968
Room 24. Ingres and Troubador art
The 19th century
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