 |
| Hippolyte Flandrin Study for Polites, Son of Priam, observing the Greeks approaching Troy ca. 1833-34 drawing Musée du Louvre |
 |
| Hippolyte Flandrin Polites, Son of Priam, observing the Greeks approaching Troy 1834 oil on canvas Musée d'Art et d'Industrie de Saint-Étienne |
 |
| Hippolyte Flandrin Study for Young Shepherd ca. 1834-35 drawing Musée du Louvre |
 |
| Hippolyte Flandrin Study for Young Shepherd ca. 1834-35 drawing Musée du Louvre |
 |
| Hippolyte Flandrin Young Shepherd 1834-35 oil on canvas Musée des Beaux-Arts de Lyon |
 |
| Hippolyte Flandrin Study for Youth by the Sea ca. 1835-36 drawing Musée du Louvre |
 |
| Hippolyte Flandrin Youth by the Sea 1836 oil on canvas Musée du Louvre |
 |
| Hippolyte Flandrin Study for Dante with Virgil offering Consolation to the Envious in Hell ca. 1834-35 drawing Musée du Louvre |
 |
| Hippolyte Flandrin Académie ca. 1835 oil on canvas private collection |
 |
| Hippolyte Flandrin after Ambrogio Lorenzetti Angel with Banderole (copy of fresco figure in Siena) 1835 drawing Musée du Louvre |
 |
| Hippolyte Flandrin Portrait of brothers René Charles Dassy and Jean-Baptiste Claude Amédé Dassy 1850 oil on canvas Cleveland Museum of Art, Ohio |
 |
| Hippolyte Flandrin Portrait of brothers Hippolyte Flandrin and Paul Flandrin in Rome 1835 drawing (inscribed for their friend, Ambroise Thomas) Musée du Louvre |
 |
| Hippolyte Flandrin Portrait of musician Ambroise Thomas 1834 oil on canvas Musée Ingres, Montauban |
 |
| Hippolyte Flandrin Study of a Woman in Classical Garb ca. 1840-50 oil on canvas Musée Ingres, Montauban |
 |
| Hippolyte Flandrin Portrait Study of M. Ingres before 1833 oil on paper, mounted on canvas Musée Ingres, Montauban |
"The works of M. Ingres are the result of an excessive attentiveness, and they demand an equal attentiveness in order to be understood. Born of suffering, they beget suffering. As I explained above, this is due to the fact that his method is not one and simple, but rather consists in the use of a succession of methods. Around M. Ingres, whose teaching has a strange austerity which inspires fanaticism, there is a small group of artists, of whom the best known are MM. Flandrin, Lehmann and Amaury-Duval. But what an immense distance separates the master from his pupils! M. Ingres remains alone in his school. His method is the result of his nature, and however weird and uncompromising it may be, it is frank and, so to speak, involuntary. Passionately in love with the antique and with his model, and a respectful servant of nature, he paints portraits which can rival the best sculptures of the Romans. These gentlemen, however, have coldly, deliberately and pedantically chosen the unpleasing and unpopular part of his genius to translate into a system; it is their pedantry that pre-eminently distinguishes them."
– 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)