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| Jean-Auguste-Dominique Ingres Miniature Portrait of a Man 1797 drawing Musée du Louvre |
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| Jean-Auguste-Dominique Ingres Portrait of a Russian General 1815 drawing Hermitage, Saint Petersburg |
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| Jean-Auguste-Dominique Ingres Portrait of Jean-Joseph Fournier 1815 drawing Metropolitan Museum of Art, New York |
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| Jean-Auguste-Dominique Ingres Sir John Hay and his sister Mary Hay 1816 drawing British Museum |
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| Jean-Auguste-Dominique Ingres Study for The Apotheosis of Homer ca. 1826-27 drawing Musée du Louvre |
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| Jean-Auguste-Dominique Ingres Study for Portrait of Madame Devauçay ca. 1830 drawing Musée du Louvre |
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| Jean-Auguste-Dominique Ingres Study for The Martyrdom of St Symphorian ca. 1834 drawing British Museum |
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| Jean-Auguste-Dominique Ingres Study for Antiochus and Stratonice ca. 1834-40 drawing Metropolitan Museum of Art, New York |
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| Jean-Auguste-Dominique Ingres Study for St Remigius of Reims ca. 1844 drawing (study for stained-glass window) Musée du Louvre |
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| Jean-Auguste-Dominique Ingres Study for The Golden Age ca. 1843-47 drawing British Museum |
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| Jean-Auguste-Dominique Ingres Study for The Golden Age ca. 1843-47 drawing British Museum |
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| Jean-Auguste-Dominique Ingres Study for Portrait of Madame Moitessier 1851 drawing Getty Museum, Los Angeles |
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| Jean-Auguste-Dominique Ingres Study for The Turkish Bath ca. 1859-62 drawing Musée du Louvre |
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| Jean-Auguste-Dominique Ingres Study for The Turkish Bath ca. 1859-62 drawing Musée du Louvre |
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| Jean-Auguste-Dominique Ingres Study for The Turkish Bath ca. 1859-62 drawing- Musée du Louvre |
"If M. Ingres occupies the most important place after Eugène Delacroix, it is because of that entirely personal draughtsmanship whose mysteries I was analysing a moment ago, and with which he has achieved the best epitome to date of the ideal and the model. M. Ingres draws admirably well, and he draws rapidly. In his sketches he attains the ideal quite naturally. His drawing is often only lightly charged and does not contain many strokes; but each one realizes an important contour. . . . It is certain that M. Ingres draws better than Raphael, the popular king of draughtsmen. Raphael decorated immense walls: but he would not have done the portrait of your mother, your friend or your mistress so well as Ingres. The daring of this man is all his own, and is combined with cunning in such a way that he shirks no sort of ugliness or oddity. . . . His is a grudging, cruel, refractory and suffering talent – a singular mixture of contrary qualities, all placed to the credit of Nature, and one whose strangeness is not among its least charms. He is Flemish in his execution, an individualist and a naturalist in his drawing, antique by his sympathies and an idealist by reason."
– from The Salon of 1846, published in Art in Paris, 1845-1862: Salons and Exhibitions reviewed by Charles Baudelaire, translated and edited by Jonathan Mayne (London: Phaidon Press, 1965)