La Grande Odalisque by Jean-Auguste-Dominique Ingres

Where? Room 702 on the first floor of the Louvre
When? 1814
What do you see? A young courtesan rests atop some brightly colored blue and ochre fabrics from the east. She is surrounded by treasures from the orient—a bejeweled mirror just behind her, a red hookah at her feet, and beautiful patterned drapes that hang from above.

​She is nude, except for the exquisite oriental headdress atop her head and a few golden bracelets on her wrist. Her elongated right arm holds a beautiful peacock feather fan. She is modestly seductive, her eroticism simultaneously augmented and veiled by the mysticism of the east.

Backstory: La Grande Odalisque was commissioned in 1813 by Napoleon’s sister, Caroline Murat, the Queen of Naples. The painting was admitted into the Salon of 1819 but received harsh criticism for a number of reasons.

Firstly, this nude by Ingres was different from many reclining nudes of the past as those were painted in a mythological context, making them more appropriate for public display. The most famous work in this genre is the Venus of Urbino by Titian. Ingres, instead, veiled his nude in the mysticism of the east, a theme emphasized by many neoclassical painters like David and Delacroix. Nonetheless, the eroticism caused much discourse.

Secondly, Ingres received criticism for his exaggerated and inaccurate rendition of human anatomy. Influenced by the 16th-century Mannerism art movement, Ingres elongated the body of his subject in numerous areas including her spine, right arm, and left leg. 

Venus of Urbino by Titian in the Uffizi Gallery in Florence

Who is Ingres? Jean-Auguste-Dominique Ingres was a French painter born in born in 1780 in Montauban. His father was an artist and musician, and his mother was a wigmaker. His parents exposed him to the arts from an early age; he enrolled in art school, studying both sculpture and painting.

In 1797, Ingres began studying with Jacques-Louis David, and, in 1799, he was admitted to the Ecole des Beaux-Arts in Paris. Eventually, he won the Grand Prix de Rome, a prestigious art prize that allowed him to work in Rome for five years.

While in Rome, he was commissioned by the Murat family in Naples to paint several portraits, though he never received payment for these paintings because of the fall of Napoleon’s empire. Stranded in Rome with no patronage, Ingres resorted to making portraits for English tourists.

​Soon, Ingres returned to France where he regained popularity with his The Vow of Louis XIII. However, he also continued to paint portraits including his portraits of Madame Moitessier, of which one version is in the National Gallery in London and another version in the National Gallery of Art in Washington, DC.

The Vow of Louis XIII by Ingres

Madame Moitessier by Ingres in the National Gallery of Art

Fun fact: When looking at the woman, you can clearly see in her lower back that she has a few more vertebrae than normal. Critics of La Grande Odalisque often estimated that Ingres had added three extra vertebrae to his figure. However, a study conducted in 2004 showed that Ingres had actually added approximately five vertebrae to his model. This number was calculated by measuring female models and scaling them to the size of Ingres’s painting. Such an elongation suited the personal taste of Ingres who was influenced by Mannerism. He thought long and curved lines accentuated the sensuality and beauty of a figure. 

---

Written by Sabrina Tian

References:

• Biography of Jean Auguste Dominique Ingres
• Condon, Patricia (2019), “Ingres, Jean-Auguste-Dominique,.” Grove Art, June 8.
• Louvre Museum – Une Odalisque.
• Maigne, Jean-Yves, Gilles Chatellier, and Hélène Norlöff (2004) “Extra Vertebrae in Ingres' La Grande Odalisque.” Journal of the Royal Society of Medicine, 97(7), 342-344.