Study of Saint Symphorien
Date
ca. 1834 or 1856
Creator
Location
Raclin Murphy Museum of Art
With Ingres, we see a new trajectory of French draftsmanship. His emphatic use of line, his denial of form and weight, and his subjugation of content to the expressive potential of the graphic medium distinguish him from his predecessors. Ingres considered himself the rightful heir of his master, Jacques-Louis David, and was the archrival of Eugène Delacroix…[H]e flattens the space and denies the corporality of the figures. The subjects become an excuse to create pattern. In Saint Symphorien, for example, the complex of drapery folds and raised arms combine to convey the sensation of floating. from Snay, The Epic and the Intimate: French Drawings from the John D. Reilly Collection (Notre Dame, 2011)
![With Ingres, we see a new trajectory of French draftsmanship. His emphatic use of line, his denial of form and weight, and his subjugation of content to the expressive potential of the graphic medium distinguish him from his predecessors. Ingres considered himself the rightful heir of his master, Jacques-Louis David, and was the archrival of Eugène Delacroix…[H]e flattens the space and denies the corporality of the figures. The subjects become an excuse to create pattern. In Saint Symphorien, for example, the complex of drapery folds and raised arms combine to convey the sensation of floating.
from Snay, The Epic and the Intimate: French Drawings from the John D. Reilly Collection (Notre Dame, 2011)](/_next/image?url=https%3A%2F%2Fiiif-image.library.nd.edu%2Fiiif%2F2%2F1996.070.007%2F1996_070_007-v0001%2Ffull%2Ffull%2F0%2Fdefault.jpg&w=3840&q=75)
Our collection information is a work in progress and may be updated as new research findings emerge. If you have spotted an error, please contact Raclin Murphy Museum of Art at RMMACollections@nd.edu.