安格尔是法国著名画家、新古典主义艺术的代表.作为坚定的古典主义者,安格尔与学院之间具有深厚的渊源.一方面,学院代表了一种艺术生产的方式,通过学院体系,艺术家得以呈现自己的艺术实践和艺术思想;另一方面,学院这一封闭的教学体系又极度依赖于安格尔所创造的艺术语言和形式.虽然安格尔尊重传统,不断借鉴和挪用经典的图示,但传统的碎片在安格尔的作品中不是一种怀旧式的存在,而是一种突破传统和驾驭传统的方式.安格尔尊重前辈大师,却更坚守自我意识,远离市场的嘈杂和沙龙的评判,专注于作品本身的构思和纯粹的艺术概念,从而实现了一种另类的现代性.而且,安格尔的历史画和肖像画构成一种社会和历史文献,对研究他所处的时代具有重要意义.本文试图把安格尔放到19世纪欧洲的语境中,通过对具体作品的分析来建构和还原一个复杂、真实的安格尔.%Jean Auguste Dominique Ingres (1780-1867) was a famous French artist and a representative of neoclassicism. As a firm classicist, Ingres had deep connections with academy. On one hand, Academy represented a way of artistic production, through which artists implemented their practices and ideas. On the other hand, the enclosed teaching system of academy was dependent on Ingres' artistic language and forms. Although Ingres respected tradition and frequently employed classical images and traditional factors in his art, those factors acted as a manner to break and rein the tradition rather than a nostalgia touch. Beside his esteem towards former masters, Ingres was more aware of self-consciousness. Keeping from the hustle and bustle of the market and critics of the Salon, he concentrated on the idea of painting and pure artistic concepts and achieved a unique modernity. Historical paintings and portraits by Ingres provided a direct perspective on social and history, playing a significant role in researching the essence of his era. This article tries to place Ingres into the 19th-century European context and rebuild a sophisticated and authentic Ingres by reading his artworks.
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