The following discussion is note 8 to the author’s Unwilling Moderns: The Nazarene Painters of the Nineteenth Century.
n Ingres as "gothique," see Robert Rosenblum, "The International Style of 1800. A Study in Linear Abstraction" (Ph.D. diss., New York University, 1956; New York and London: Garland Publishing, 1976), pp. 178–79; Uwe Fleckner, Abbild und Abstraktion. Die Kunst des Porträts im Werke von Jean-Auguste-Dominique Ingres (Mainz: Philipp von Zabern, 1995), pp. 55-57. On Ingres and the Nazarenes, see Rachel Esner, "Auf der Suche nach der verlorenen Zeit: Überlegungen zu Overbeck und Ingres," in Andreas Blühm and Gerhard Gerkens eds., Johann Friedrich Overbeck 1789–1869. Ausstellungskatalog zur 200ten Wiederkehr seines Geburtstages, exh. cat., Museen für Kunst und Kulturgeschichte der Hansestadt, Lübeck, 1989, pp. 54–62.
Jean Alazard rejected the view that the Nazarenes may have exerted an influence on Ingres, claiming instead that it was the French artist who, as a longtime admirer of the Italian Quattrocento and a champion of "la ligne sensible" and "le contour expressif," was the instigator of the movement that led to German and then English Pre-Raphaelism; see Jean Alazard, Ingres et l'ingrisme (Paris: Albin Michel, 1950), pp. 69, 129. In a similar vein, Bruno Foucart recalled that after his visit to Overbeck's studio in 1833, Hippolyte Flandrin expressed both admiration and criticism. Overbeck, in Flandrin's view, "se sert de la peinture, il ne tient qu'à rendre ses idées, à les écrire."Quoted in Bruno Foucart, "Saint Hippolyte Flandrin," in Hippolyte, Auguste et Paul Flandrin. Une fraternité picturale au XIXe siècle, exh. cat., Musée du Luxembourg, Paris (Paris: Editions de la Réunion des musées nationaux, 1984), pp. 35–46. In Foucart's reading, Flandrin followed French art critics and historians, such as Delaborde and Delécluze (both themselves also painters, the former a student of Delaroche, the latter of David), in rejecting what they saw as the Nazarenes' subordination of painting to philosophy, theology, and archaizing archaeology, while at the same time, by picking up the religious tradition of early Italian painting in his own way, he neutralized Nazarene influence in France (p. 41).
On the general question of the relation between Ingres and his students and the Nazarenes, see Michel Callort, "De la séduction nazaréenne, ou Note sur Ingres et Signol (Rome, 1835)," Bulletin du Musée Ingres 51/52 (December 1983), pp. 53–73; Maurice Denis, "Les élèves d'Ingres" (first published in L'Occident, 1902) in his Théories 1890–1910: Du Symbolisme et de Gauguin vers un nouvel ordre classique (Paris: C. Renart and J. Watelin, 1920, 4th ed.), pp. 94–95; Henri Dorra, "Die französischen 'Nazarener'," in Die Nazarener 1977, pp. 337–54; Henri Dorra, "Montalembert, Orsel, les Nazaréens et 'l'art abstrait'," Gazette des Beaux-Arts 85, ser. 6 (1975), pp. 137–47; Bruno Foucart, Le Renouveau de la peinture religieuse en France (1800–1860) (Paris: Arthéna, 1987), pp. 27–28, 202–04, and passim; M. Lamy, "L'Italie vue par les élèves d'Ingres, précurseurs de Puvis de Chavannes," Revue de l'Art Ancien et Moderne 42 (1922), pp. 219–25; Daniel Ternois, "Le Préraphaélisme français," in his modern edition of Eugène Emmanuel Amaury-Duval, L'Atelier d'Ingres (Paris: Arthéna, 1993), pp. 385–406. On Chenavard and the Nazarenes, see Marie-Claude Chaudonneret ed., Paul Chenavard: le peintre et le prophète, exh. cat., Musée de Lyon, Lyon (Paris: Réunion des musées nationaux, 2000). It was still a Nazarene line of thought that Maurice Denis was developing in 1902, when he contrasted Delacroix, continuing the tradition of Titian and Veronese, "mais qui portait en soi, à cause même de sa perfection, des germes de décadence," with Ingres, who went back to the art of an earlier time to find "les principes éternels de notre goût occidental" and who "conciliait le style selon les Grecs et la sincérité, la naïveté des Primitifs" ("Les Elèves d'Ingres" in Denis 1920, p. 92).
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13 August 2016