Hello darlings! Neither my tired art model’s body nor my dread over another impending snowstorm and frigid temperatures will stop me from presenting a Valentine to my readers on this Valentine’s Day. And it ain’t chocolates or a bouquet of flowers. That’s kid stuff 😉 For us it is the scandalous, seductive, come-hither gaze and frank nudity of Jean Auguste Dominque Ingres’ La Grande Odalisque. Painted in 1814, this iconic masterpiece of Neoclassicism predictably shocked the uptight sensibilities of the Salon art establishment. Were they shocked because it was risqué and erotic? Or because the figure is anatomically disproportional? Both actually.
In the ruthless shredding this work of art received, censorious critics concluded that the model, as concubine, was given “three vertebrae too many” and that she had “neither bones nor muscle, neither blood, nor life”. The then 34 year old Ingres was accused of ignoring anatomical accuracy and having fallen victim to his wild, erotically-charged imagination. Perhaps he did. To that we can say, “so what?”. Surely there was a method to his madness. The female body is unique in its longer lines which create visually appealing curvature. Ingres clearly took it to the next level with his elongation. Proportionally, the figure is indeed strange, with some even claiming that the particular flexure of the spine with the rotation of the pelvis is physically impossible. But as an art model I’ve done some nearly impossible poses, so I’m not so sure. Although I don’t have any extra vertebrae that I’m aware of 😆
But Ingres had a vision in his mind and he went for it. His subject is a nubile sex slave after all, and he wanted to heighten that purpose to maximum effect. Sensuality was priority number one. I’d say he succeeded, don’t you? She’s an enticing woman and she’s on view at her permanent home in the Louvre, keeping company with the Mona Lisa.