Jean-Auguste-Dominique Ingres

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Napoleon I on his Imperial Throne is an 1806 portrait of Napoleon I of France in his coronation costume, painted by the French painter Jean-Auguste-Dominique Ingres. The painting shows Napoleon as emperor, in the costume he wore for his coronation, seated on a circular-backed throne with armrests adorned with ivory balls. In his right hand, he holds the scepter of Charlemagne.

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Portrait of Monsieur Bertin is an 1832 oil on canvas painting by Jean-Auguste-Dominique Ingres. It depicts Louis-François Bertin (1766 to 1841), the French writer, art collector and director of the pro-royalist Journal des débats. Ingres completed the portrait during his first period of success; having achieved acclaim as a history painter, he accepted portrait commissions with reluctance, regarding them as a distraction from more important work.

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Madame Moitessier is a portrait of Marie-Clotilde-Inès Moitessier (née de Foucauld) begun in 1844 and completed in 1856 by Jean-Auguste-Dominique Ingres. The portrait, which depicts Madame Moitessier seated, has been in the collection of the National Gallery in London since 1946. Madame Moitessier is also the title of a second portrait by Ingres, which depicts her standing.

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Oedipus and the Sphinx is a painting by the French Neoclassical artist Jean-Auguste-Dominique Ingres. Originally a student work painted in 1808, it was enlarged and completed in 1827. The painting depicts Oedipus explaining the riddle of the Sphinx.

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The Source is an oil painting on canvas by French neoclassical painter Jean-Auguste-Dominique Ingres. The work was begun in Florence around 1820 and not completed until 1856, in Paris. When Ingres completed The Source, he was seventy-six years old, already famous, and president of the École des Beaux-Arts.

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The portrait of Mademoiselle Caroline Rivière was painted in 1806 by the French Neoclassical artist Jean-Auguste-Dominique Ingres, and today hangs in the Louvre. It is the third of three portraits of the Rivière family that the artist painted that year. Caroline's father, Philibert Rivière, was a successful court official under Napoleon's empire and sought to commemorate himself, his wife and daughter through a commission with the then young and rising artist, Ingres's portraits of Philibert and his wife are also still extant.

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The Valpinçon Bather (Fr: La Grande Baigneuse) is an 1808 painting by the French Neoclassical artist Jean-Auguste-Dominique Ingres (1780 to 1867), held in the Louvre since 1879. Painted while the artist was studying at the French Academy in Rome, it was originally titled Seated Woman but later became known after one of its nineteenth-century owners. Ingres had earlier painted female nudes, such as his Bathing Woman of 1807, yet this work is widely regarded as his first great treatment of the subject.

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Grande Odalisque, also known as Une Odalisque or La Grande Odalisque, is an oil painting by Jean-Auguste-Dominique Ingres depicting an odalisque, or concubine, painted in 1814. Ingres' contemporaries considered the work to signify Ingres' break from Neoclassicism, indicating a shift toward exotic Romanticism. Grande Odalisque received heavy criticism when it was first shown, and is renowned for the elongated proportions and lack of anatomical realism.

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The Turkish Bath (Le Bain turc) is an oil painting by Jean-Auguste-Dominique Ingres, initially completed between 1852 and 1859, but modified in 1862. The painting depicts a group of nude women at a pool in a harem. It has an erotic style that evokes both the Near East and earlier western styles associated with mythological subject matter.