Art History Synopsis

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Neoclassicism is the 18th century revival of classical beliefs. It differs from other revivals as neoclassical artists approached the ancient subject with a newer, more scientific approach. They also combined an interest in both ancient worlds; Greece and Rome. The artifacts uncovered at Pompeii and Herculaneum contributed significantly to this rebirth of classicism. It has been noted by some art historians that the elongation of the odalisque's back and pelvic area were not only drawn to satisfy Ingres' quest for an ideal form of the female body. Ingres was well-known for the way in which he reflected his subject's social condition through his paintings. As it was the odalisque's duty to satisfy the carnal pleasures of the sultan, this elongation of her pelvic area may have been a symbolic distortion by Ingres. She lies on the divan, her nudity a signal that she is offering herself. She is described as a modest harem, as only her back and part of one breast is shown. But if one looks closely to her face, it seems aloof and absent of any sign of eager expectations. A favorite subject of Ingres was the female nude. He loved to imaginatively enhance the female form as he considered it ideal. Often this meant strong anatomical distortions. La Grande Odalisque, one of his most well known nudes, is a fine display of such achievements. Critics may have taken a slightly evil pleasure in judging the work of Ingres, an artist they loved to hate. Naturally, they had a field day at the Salon of 1819 with La Grande Odalisque, ridiculing Ingres' lack of conventional modeling and more noticeably, his anatomical distortions. One exclaimed that his "creature" had three vertebrae too many. Another remarked the work had "neither bones nor muscle, neither blood, nor life, nor relief, indeed nothing that constitutes imitation. " It is apparent that critics of his day were not ready for Ingres' vivid, erotic imagination. The artist's use of long lines to convey curvature and sensuality caused Ingres' work to be criticized until the mid 1820s. Today, La Grande Odalisque is recognized as one of Ingres' most famous nudes. The anatomical distortions of the odalisque continue to fascinate art fans. Some reviewers have gone as far as to test the "three vertebrae too many" accusation made by critics of his day. After testing a series of models, they have concluded that the odalisque in fact has five vertebrae too many, not three. Use of Space: The body of the nude takes up the entire frame of the canvas. Her head, elbow, and buttocks are inches away from the edge of the canvas. Her toes actually extended beyond the bounds of the edge. Use of Color: Under the classical training of David, Ingres was taught to focus more on drawing than on color. Though he paid meticulous attention to the details of the line, his use of colors is also carefully planned. He contrasts the warm tones of the nude's skin against the cool colored silk she lies on. Lighting: The foreground remains completely unlit, bringing attention to the long and sensuous body of the odalisque. It seems a spotlight has been cast directed on her body, specifically lighting and drawing attention to the area he elongates - her back and pelvis area, and her arm. Tone elicited: This piece is both sensual and erotic. The odalisque is offering herself to the sultan, welcoming him but giving him just a slight preview of her body. Only her bare back faces him and she entices while barely revealing her breast. Brushstroke: Ingres used tight brushwork to achieve his near photographic realism. He captured the likeness of the texture of the model's skin, the silk and the velvet.