Describe the characteristics of the Jan van Eyck in this artwork's Models and influence.
For Robert Rosenblum, Ingres's model was the figure of God the Father on the Ghent Altarpiece by Jan van Eyck, which was in the Louvre at the time Ingres painted this portrait. The contemporary critic Pierre-Jean-Baptiste Chaussard compared Ingres's style in this portrait to that of Van Eyck (then known as Jean de Bruges):His Majesty the Emperor on his Throne - 9 foot by 13 foot - The author has not given an explanation of these paintings. First we consider the Portrait of the Emperor; How, with so much talent, a line so flawless, an attention to detail so thorough, has M. Ingres succeeded in painting a bad picture? The answer is that he wanted to do something singular, something extraordinary. Without doubt, one does not always follow step by step the beaten path, but one must not affect the steeper heights : There are acute minds, who, like goats, are only pleased feeding on the rocky outcrops. The good mind consists of choosing a sure and easy way to go, and it is this route that the great masters, helped by experience, have taken. In leaving it, one risks getting lost - in the same way, via a beautiful passion for the extraordinary in architecture, Borromini and Openor wholly perverted all the arts of drawing; nevertheless the inventors of this depraved taste had the masterpieces of antiquity and of Italy before their eyes : behold how, in another way that is no less detestable than it is Gothic, M Ingres does nothing less than regress the art of four centuries to put us back in our infancy, to resuscitate the manner of Jean de Bruges. But in this infancy of art, there is at least naivety and truth, and this system was the only one that artists knew how to paint by; they could do no better etc.... We heard what was being said in the Salon, and we observed that feelings were unanimous, both among those who knew the arts and among the vulgar. At first, the first viewing warned against the painting, some cry out, some mock its composition and arrangement; but then, when they approach it, they admired its precious finish, and the exact truth of the [depiction of the] fabrics; but one then returns to it again discontented, regretting that the artist had researched the most bizarre effects. Why at first having faced the portrait of the Emperor: it's the most difficult thing to do well... This throne is heavy and massive, the hand which holds the sceptre is not happily executed. It is said that the artist has taken this attitude, as well as in the rest, in the Gothic medallion. As for the emperor's head, it is too heavy, a poor resemblance, of a colour that is false and too : despite the fineness of the brush, the preciousness of the finish, the melting hues, it is dry in manner, makes no effect, and does not leap off the canvas.
However, Ingres himself stated:I think much of Jean de Bruges, I would wish to resemble him in many ways; but still, he is not my painter and I believe that [the critics] cited him at random.
Ghent Altarpiece Robert Rosenblum Openor Jan van Eyck Chaussard Borromini God the Father Louvre Pierre-Jean-Baptiste Chaussard Jean de Bruges