Jean-Dominique INGRES (1780–1867). Autograph letter, Florenc - Lot 223

Lot n° 223
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Estimation :
4000 - 5000 EUR
Jean-Dominique INGRES (1780–1867). Autograph letter, Florenc - Lot 223
Jean-Dominique INGRES (1780–1867). Autograph letter, Florence, June 15, 1821, to Jean-François Gilibert Jr., attorney in Montauban; 3 pages in-4 and 2 pages in-8, envelope with postmarks (small tear caused by a broken postmark). A long letter from Florence to his childhood friend Jean-François Gilibert (1783–1850), regarding his painting *The Vow of Louis XIII*. She promises to write at least once a month, “just a few scribbles, because that’s my way of writing to a friend—with whom one should have complete freedom, or better yet, who forgives any awkwardness, who, out of friendship, tolerates all spelling mistakes, obscurity, even gibberish—but who knows better than anyone else how to untangle what I mean to say and express, and my true feelings.” Gilibert knows that he is the “dearest friend, the only one I can truly call by that name so common, yet so rare”… Then he turns to the commission (for the cathedral in Montauban) of his painting *The Vow of Louis XIII*: “My reflections on the composition’s structure, some advice, and a deeper understanding of *The Vow of Louis XIII* have finally convinced me to adopt it. You know what the imagination of a true artist is like—one who must revise his ideas twenty times over and who, consequently, undoes today what he has done tomorrow”… After his hesitations, Ingres asks Gilibert to inform the prefect that the matter is “definitely settled […] if you happen to have in Montauban, in libraries, prints, or even good paintings, medals, or a portrait of this King—if you could send me shaded tracings of them, that would be of great help to me; even just his royal costume with scepter and crown, even if they were those of his Glorious Father. […] All these materials can surely be found in the Royal Library. An image of the king in profile on some beautiful, large medal of the time, and his figure in full regalia, drawn or traced with care, with the separate details of the fleurs-de-lis, crown, and scepter, will suffice for me.” We should be able to find an artist in Paris who can do this with care; “I am in a great hurry.” He will write to the minister “as soon as necessary […] let’s paint the picture, and it will be completed and exhibited at the Salon—I guarantee it—especially if my request is granted; its proportions are beautiful and suited to the subject.” He then mentions an article in *Le Moniteur* and his *Jesus Giving the Keys to Saint Peter*, “the beautiful painting of St. Peter—I dare say, with full conviction, that I painted it in Rome for the French church of the Trinité du Mont, and of which I will tell you the still-inconceivable story of the misfortune I have in painting classical art and depicting the Catholic faith.” Then there is his painting of Francesca da Rimini, about which he has heard nothing except from the Vernets, “who found it enchanting and worthy of a fine print”; he sends a small drawing of it to Gilibert, along with “the painted sketch of St. Peter,” noting that “it is only a first idea.” You know very well, my dear friend, that I am neither a maker of sketches nor of drawings for ‘finishing touches,’ as they say—recognizing in works only the beautiful results—and so when I make studies, whether on paper or on canvas, it is because they serve me primarily and not to be displayed in private collections. […] If necessity and time had allowed, I would have painted a picture for you—which you will, of course, receive.” He concludes with a few assessments of painters: Gros, who “has more sincerity than the others, though he is rougher”; Landon, “a scoundrel” and a liar; Miel, who “is no artist, yet does me great justice and shows great generosity; he hits upon some very strong points regarding me and the unfortunate path that painting is taking”…
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