• Ingres
• Thetis Asking Jupiter's Aid
• 1805-1811
• torso is emblem of male power and artistic merit
• endless, slow, exquisite lines (ie: her back)
• langour (female) vs. power (male)
• used sleek and continuous contours
• Thetis' head: prophetic abstraction, strange distortions

• Ingres
• Valpinçon Bather
• 1808
• desert of flesh
• a reversal of priority (light is cast on the drapery)
• enamel-like finish

• Ingres
• Grande Odalisque
• 1814
• odalisque: moorish, oriental, in repose, nude
• nude out on a platter
• long contours
• consistent mix of extremes (realism and abstraction)

• Ingres
• Odalisque and Slave
• 1842
• archeological fascination, historical accuracy
• Romantic dream of textures and colors; sensual
• Ingres focused on the use of color

• Ingres
• Madame d'Haussonville
• 1845
• didn't believe in reflecting the artists's gesture in portraits
• made women look vapid and dumb
• in portraits, men had strong, topographical, telling faces

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• Ingres
• Monsieur Bertin
• 1832
• man potrait: focus of eyes, serious mouth, hands on knees, imposing black silhoutted shape
• immediate, spontaneous
• this level of acuity not seen in the face of women in Ingres' portraits

• Delacroix
• Massacre at Chios
• 1824
• vignettes of oppression
• contortion and energy
• able to accurately give suffering form and evoke sympathy from viewer

• Delacroix
• The Death of Sardanapalus
• 1827
• what holds the piece together is the reverberation and movement of lines and color
• fast-paced, sensual
• unlike David's work, there is no nobility in death; instead, devestation and chaos

• Delacroix
• Liberty Leading the People
• 1830
• "If I can't fight for my country, I will paint" -Delacroix
• allegorical figures

• Delacroix
• Chopin
• 1837
• Delacroix was incorporated into a world of exciting intellectuals

• Delacroix
• Paganini
• 1832
• depicts him as inspired, trance-like, raw excitment
• evocation of man becoming music
• willfully distorted scale is an analogy of body and music (the artist controlling the instrunment)

• Delacroix
• Lion Hunt
• 1855
• speed, excitement, search for power/destruction
• torn, broken lines
• his aim: to produce the most powerful emotional response
• each gesture of brush is an outpouring of energy and passion to bring viewer into work

• Delacroix Baron Schwiter
• 1826
• popular for men to imitate women fashions