 |
| Amaury-Duval Portrait of Alice Ozy 1852 oil on canvas Musée Carnavalet, Paris |
 |
| Amaury-Duval Portrait of Mademoiselle Isaure Chasseriau 1838 oil on canvas Musée des Beaux-Arts de Rennes |
 |
| Amaury-Duval Portrait of Marie Marguerite Foucher de Circé 1842 oil on canvas Musée Sainte-Croix, Poitiers |
 |
| Amaury-Duval Portrait of Madame de Loynes 1862 oil on canvas Musée d'Orsay, Paris |
 |
| Amaury-Duval Head of Annunciatory Angel 1865 oil on canvas Musée Ingres, Montauban |
 |
| Amaury-Duval Birth of Venus 1863 oil on canvas Palais des Beaux-Arts de Lille |
 |
| Amaury-Duval Studies ca. 1875 oil on canvas Musée des Beaux-Arts de Saint-Denis, Reims |
 |
| Amaury-Duval Self Portrait 1832 oil on canvas Musée des Beaux-Arts de Rennes |
"At this point, my friend, I am very much afraid that I am forced to lay hands on one of your idols. I want to speak of the school of Ingres in general, and of his method as applied to the portrait in particular. Not all his pupils have strictly and humbly followed their master's precepts. Whereas M. Amaury-Duval courageously pushes the asceticism of the school to extremes, M. Lehmann makes some attempts to excuse the origin of his pictures by the admixture of alien ingredients. On the whole one might say that [Ingres's] teaching has been despotic, and that it has left a painful scar on French painting. A very stubborn man, gifted with several precious faculties, but determined to deny the utility of those which he does not possess, he has laid claim to an extraordinary and exceptional glory – that of extinguishing the sun. As for the few smoky embers that are still left to wander in space, the master's disciples have undertaken to stamp them out. It is not to be denied that Nature, as expressed by these simplifiers, has turned out to seem more intelligible; but it is obvious how much less beautiful and exciting she has become in the process. I am bound to admit that I have seen a few portraits by MM. Flandrin and Amaury-Duval which, though falsely disguised as paintings, nevertheless offered some admirable specimens of modelling. I will even admit that the visible character of these portraits, save everything relating to colour and light, was vigorously and carefully expressed, and in a penetrating manner. But I ask you if it is playing fair to decrease the difficulties of art by suppressing some of its parts. I think that M. Chenavard is more courageous and more frank. He has simply repudiated colour as a perilous display, as a reprehensible, emotional element, and has put his trust in the pencil alone to express all the import of his idea. M. Chenavard is incapable of denying all the advantages conferred upon laziness by a procedure which consists in expressing the form of an object without the variously-coloured light which clings to each of its molecules; only he claims that this sacrifice is a glorious and a useful one, and that form and idea are both equally the gainers. But M. Ingres's pupils have very pointlessly retained a semblance of colour. They believe, or they pretend to believe, that they are painters."
– from The Salon of 1859, published in Art in Paris, 1845-1862: Salons and Exhibitions reviewed by Charles Baudelaire, translated and edited by Jonathan Mayne (London: Phaidon Press, 1965)
 |
| Paul Chenavard Philosophy of History ca. 1850 oil on canvas (design for unexecuted mosaic) Musée des Beaux-Arts de Lyon |
 |
| Paul Chenavard Ménage à Trois ca. 1840 drawing, with watercolor private collection |
 |
| Paul Chenavard Amorous Reflections ca. 1840 drawing, with watercolor private collection |
 |
| Paul Chenavard Ugolino and one of his Sons (study for painting, Dante's Inferno) ca. 1845-46 drawing Musée du Louvre |
 |
| Paul Chenavard Dante's Inferno 1846 oil on canvas Musée Fabre, Montpellier |
 |
| Paul Chenavard The Divine Tragedy 1869 oil on canvas (grisaille study for painting) Musée Municipal, Hyères |
 |
| Paul Chenavard The Divine Tragedy (detail with Apollo and Marsyas) 1869 oil on canvas Musée du Louvre |