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Добавлены профессиональными переводчиками и компаниями и на основе веб-страниц и открытых баз переводов.
equally, the launching of the new student health service, a programme designed to cater for the health needs of schoolchildren aged between 6 and 18, is warmly welcomed, as is the establishment of the health care and promotion fund, which is designed to step up efforts for health promotion and disease prevention.
وترحب اللجنة بشدة ببدء خدمة الصحة الطﻻبية الجديدة، كبرنامج يستهدف تلبية اﻻحتياجات الصحية ﻷطفال المدارس الذين تتراوح أعمارهم بين ست سنوات و ١٨ سنة، كما ترحب بإنشاء صندوق رعاية وتحسين الصحة الذي يستهدف مضاعفة الجهود لتحسين الصحة والوقاية من اﻷمراض.
nowadays, however, almost half of the new students at higher technical colleges have general university entrance qualifications which also entitle them to take up studies at a university.
ومع ذلك، يحمل حالياً نحو نصف الطﻻب الجدد في الكليات الفنية العالية مؤهﻻت عامة لدخول الجامعة تتيح لهم أيضاً الدراسة في الجامعة.
bearing in mind that the majority of the new student population will be coming from poverty-stricken families, who are not adequately fed -- remember that children dizzy with hunger will not be able to focus on their studies -- authorities will have to find ways and means of providing for the minimal nutritional needs of children.
ومع مراعاة أن أغلبية الطلاب الجدد سيكونون من الأسر المنكوبة بالفقر، التي ليس لديها الغذاء الكافي، لنتذكر أن الأطفال الذين يصيبهم الدوار نتيجة للجوع لن يستطيعوا التركيز على دراستهم وسيتعين على السلطات أن تجد سبل ووسائل توفير الحد الأدنى من الاحتياجات الغذائية للأطفال.
xa 2813 -114 newnes"' art si library® ingres digitized by the internet archive in 2016 https://archive.org/details/ingres00ingr_0 la source l0ndon:george newnes limited sovthampton* street • strand *w*c newyork:fpedewckwarne^co-36'east-22^st. the ballantyne press tavistock st. london re; getty r> r' ?. j | 7 m .a py ch institute contents page jean-auguste- dominique ingres : painter. by octave uzanne. translated by helen chisholm vii list of illustrations la source ............ frontispiece the turkish bath , i portrait of the artist 2 madame devaugay 3 the vow of louis xiii. ........... 4 the deification of homer 5 stratonice (first version) 6 madame la comtesse d’haussonville 7 duke of orleans, son of louis- philippe 8 napoleon bonaparte, “ first consul” . 9 the odalisque 10 madame de sesonnes 11 venus anadyomene 12 study for the figure in the muse of cherubini 13 m. cordier 14 virgil reading the ieneid (fragment) . . . 15 lorenzo bartolini (florentine sculptor) 16 virgin and child ............. 17 the odalisque and the slave 18 l. cherubini 19 sleeping infant (study) 20 cedipus and the sphinx 21 madame riviere 22 sketch for the painting in sistine chapel 23 virgin and the sacred host ........... 24 ceremony in the sistine chapel .......... 25 francesca da rimini and paolo malatesta 26 m. de belveze de montauban 27 portrait of lady (unknown) surnamed la belle z€ lie ...... 28 charles x 29 v b list of illustrations — continued page virgin and the sacred host (second version) 30 the painter’s second wife (miss delphine rameh) 31 louis mathieu mol£, pair de france 32 christ committing to peter the keys of paradise 33 the bather 34 rogero delivering angelica 35 rogero delivering angelica (detail) 36 the painter’s father 37 m. rochet 38 m. philibert riviere 39 jeanne d’arc 40 christ before the doctors 41 portrait of the painter 42 stratonice (second version) 43 portrait of garnet 44 the sistine chapel 45 m. bertin l’aine 46 madame delauzat and her son (study) 47 marshal of berwick receiving the gold chain from philippe v 48 cartoon for window 49 st. anthony 50 st. francis 51 st. camilla 52 st. charles 53 st. amelia 54 st. ferdinand .... 55 st. ludovic . 56 st. helena 57 decorative painting “ l’age d’or ” 58 decorative painting (detail) 59 j upiter and thetis 60 the deification of homer (detail) 61 the deification of homer (detail) 62 virgin and child (detail from the vow of louis xiii.) 63 the deification of homer (detail) 64 vi jean-auguste-dominique ingres: painter by octave uzanne translated by helen chisholm t is doubtful whether in the course of the nineteenth century, rich as it was in varied talent, one could have met with a painter more faithful to his original teaching, or more flatly antagonistic to the revolutionary move- ment of his time, than was j. a. dominique ingres. he was an accentuated type of the man who is absolutely inaccessible to innovating theories, being entirely con- vinced as to the sacred character of classical beauty, and as to the fundamental truth of a traditional art summed up in essential and necessary formulas. no one ever fought so energetically for his ideas, his aesthetic principles, his retrospective vision, and his technique — a technique with no flashy brilliancy, but purposely sober and severe. throughout a long life of toil, that had in it all the inflexible continuity of a straight line, this zealous disciple of j. louis david followed but one single ideal, exhibited only one manner of painting, and never recognised or professed any other teaching but the one strict doctrine — his own. despite exacerbated criticism and cruel judgments passed upon his work, despite persistent hostility and unjust scorn, he never made concessions to the taste of an age to whose decadent aesthetics he could not subscribe, any more than he could comprehend the ardent spirit of reform, the need of movement, and the thirst for colour every- where becoming apparent. he remained the apostle of his antique faith, the indomitable missionary of a religion of art consecrated to the principles of raphael, firmly loyal to his inspiration, to his fundamental rules of composition, to his ideal of beauty. vii jean-auguste-dominique ingres when his painted portraits, his religious and allegorical works, his mythological and historical subjects, or his studies from the masters unloosed the passions of his adversaries, he showed the serenity and resignation of a martyr to his faith, putting his trust in time, the pacifi- cator and adjudicator, and declaring, with a mixture of pride and good sense : “ it matters little that i am mocked to-day, i shall surely conquer by my perseverance, and i count much upon my old age to avenge me.’’ j. a. dominique ingres commands our esteem, indeed, by the im- maculate dignity of his artistic life, ordered throughout for the steady maintenance of his high ideal, even more than by his work itself. that work, however, reflects the radiance of his serene conscientiousness ; it reveals the placid temperament of an artistic workman, a stoic by virtue of his patient striving towards perfection, and of that impersonality which is evident in his technique. this brave and noble life certainly compels admiration, and imposes a reverent silence on even the most hostile critics of his work. jean auguste dominique ingres, who was afterwards to become known to his admirers and to posterity by the respectful and now sacred appellation of “ monsieur ingres/ 7 was born at montauban on august 29, 1780. his father, jean-marie joseph ingres, was a native of toulouse, and had — as has never been sufficiently recognised — a remarkable taste for the fine arts, though himself but the son of a master-tailor. draughtsman, decorator, sculptor, architect, miniaturist, musician (a violinist, and possessing a tenor voice), joseph ingres was very successful in the free development of his multifarious gifts. an interesting biography of him by edouard forestie, published at montauban in 1886, furnishes us with astonishing details as to his various aptitudes, and as to the interesting works executed by him. during the course of a life devoted to the cause of art, which terminated in 1814, he figured as a sculptor, designed buildings, painted, and made decorations without end. from the point of view of heredity it is interesting to know these facts. in the catalogue of works by joseph ingres, we may notea considerable number of statues, medallions, ornaments in bas-relief, oil-paintings, grisailles and decorative panels, drawings in pen-and-ink or wash, pastels, and pretty miniatures, which without being masterpieces have yet a character of distinction, and indicate that if better instructed than was possible in the provinces their creator might have attained a higher destiny. ingres' father had opened a school at montauban for drawing from casts and from the life, and this was where his son began his elementary studies. he soon showed such promise that the family resolved, after a stay at toulouse, to send him to paris, to the studio of the great painter louis david, where he was admitted in 1796. history tells us nothing as to his reception by the future official painter of napoleon, nor of the artistic relations formed by him here. the young pupil, however, must have worked with dogged determination, for by the year 1800 he had viii jean-auguste-dominique ingres quitted the ranks, had been admitted to the competition for the prix de rome, and had obtained the second prize with a wonderfully constructed picture, drawn and painted very capably, and revealing quite exceptional gifts. the subject was antiochus beholding again his son scipio who had been made a prisoner on the seas. this picture was burned in paris during the commune of 1871. the following year was to see dominique ingres the winner of the grand prix, and destinedforasojourn in rome, thanks to the matchless execution of the work sent in by him, achilles receiving the envoys of agamemnon in his tent , which made the english sculptor flaxman, who saw the picture when passing through paris, declare : “ i have seen nothing in my travels finer than this student's work." public finances would not at the time permit of contributions towards the maintenance of the prize-winners at rome. so ingres was a pensionnaire sans pension , and was obliged to remain on in paris for five years, making his living by trivial work for publishers, and in particular by drawing from the antique in the musee napoleon. during these toilsome years in the great city he painted the full-length portrait of napoleon in the dress of the u first consul," at present in the musee of liege, and the portrait of his father — a fine figure of a man, though then over fifty — now in the municipal gallery of montauban. the artist’s own portrait at the age of twenty-four is of the same period (1804), and these works already showed a maturity of talent and mastery of technique which might well strike his contem- poraries as something out of the common. young ingres, despite the appearance of rapid success, had known times of hard necessity, and had already learnt by experience the difficulty of pleasing men by methods of sincerity and truth. after having been distinguished by his master louis david, who in a favourable hour had deigned to invite his collaboration in painting the famous portrait of mme. recamier f ingres began to realise the growing hostility of his great patron, who in his first roman competition had the prix d’honneur awarded quite unfairly to ingres' fellow pupil granger, whose composi- tion was mediocre, to say the least of it. desperately poor, dependent for his livelihood on his little pencil studies, he found some consolation in the warm friendship of two dear comrades, both as poor as himself, and both destined for fame : one of these was the florentine sculptor, lorenzo bartolini, whose portrait he executed in 1805, and whom he was later to come across in florence ; the other was the belgian composer and writer on music, joseph fetis. the first important commission that fell to the lot of david’s pupil was the official portrait of napoleon /. on the throne } robed in the pompous trappings of his imperial purple and ermine. this great canvas, intended for the hotel des invalides, where it still remains, was executed by ingres in 1806. it is far from being one of the painter's most masterly achievements. the emperor's attitude is pontifical and solemn to excess ; the painting looks heavy and as if enamelled. carle vernet, who saw this ix jean-auguste-dominique ingres picture, important in size alone, at the salon of 1806, without a thought of malice let fall the quite fair witticism : “c’est malingre ! " it is indeed “ unhealthy,” with its over-emphasis of the imperial character, its exces- sive care for detail, and its need of reconciling so many different sources of interest. these official commissions served at least one good purpose in pro- viding the impecunious artist with a free lodging in paris at the ancient convent of the capuchins, then turned into separate studios, where a. ]. gros, the napoleonic painter, was also housed. this latter's vast apart- ment was filled with military, oriental, and decorative bric-a-brac — a necessary storehouse of accessories, destined for use in the grand epic scenes which were to commemorate the glories of the egyptian cam- paign m illustrative paintings by the hand that gave us “ la bataille d'aboukir.” towards the end of 1806 the ministry of fine arts was at last able to supply the young prize-winner of 1801 with the money requisite for his journey to italy, and to pay for his board and lodging at the villa medici. ingres joyfully took his departure for the land of the great masters, whose works he had so long yearned to behold. no sooner had he arrived in the sacred city than he felt seized by a frantic ardour for work. the draughtsman's pencil was never out of his hand, and graphic notes were taken of monuments, mausoleums, accessories of religious art, furniture, civil, military, and monastic costumes, armoury, and architectural details in the churches. he neglected nothing which could yield him informa- tion, while perfecting his vigorous and exact method of jotting down detail. among the mass of drawings preserved at montauban some of these well-filled little notebooks are still to be found, revealing the prodi- gious extent of his labour. he next made a passing visit to florence and the smaller towns of glorious umbria. above all he set himself to follow the footsteps of raphael, his deity — that divine sanzio who still influenced him in the highest degree, and to whom he seems to have given his whole artistic soul at first sight. every artist was then choosing from among his more illustrious predecessors some one master whose dominant influence should be continually manifest in his work. till then no one had thought of electing raphael as his patron saint ; ingres was the first artist to dedicate his entire aesthetic passion to this master. his friend charles blanc remarks this. “ by his kindling words,” he writes, “ by the avowal of his imitations, by the lofty tone of his criticism, the ardent montal- banais substituted a well-considered enthusiasm for that foolish, unreasoning, conventional admiration of which raphael had been the object in every school for three hundred years. he restored the cult of raphael, and had the more credit in so doing because he himself in no way then personally resembled the great painter whom he adored. he who was so impassioned, whose style was emotional to the verge of exaggera- tion, strained and arbitrary almost to violence, was chanting the praises jean-auguste-dominique ingres of a genius that was measured in its grandiloquence, discreet in its fertile abundance, temperate and human in its heroism, lofty without effort, and serenely sublime.” by sending to the beaux-arts in paris a copy of the farnesine mercury as a specimen of his progress, the new student of the academy of france in rome was evidently enrolling himself definitely under the banner of his spiritual master, raphael. the following year, 1808, after having painted the wonderful portrait of mme. devangay, one of the most marvellous of his achievements, he sent to paris (edipus explaining the riddle (now carefully preserved at the louvre), which in the eyes of connoisseurs bore eloquent testimony to his extraordinary powers of composition, his faultless mastery of drawing, his admirable treatment of a plastic subject, and his thorough comprehension of the ancient legend. the confident authority and penetration with which so young a painter interpreted the genius of greek art disconcerted ingres’ masters and fellow pupils. critics of the day sought to extol his qualities as a draughtsman, while contemptuously disparaging him as a painter and colourist. this was for long a received convention which considerably influenced public opinion. nothing, however, could discourage the young neo-raphaelite, too much absorbed in his study of the art-galleries and in his own work to lend a ready ear to the rare echoes which reached him in letters from friends in paris. works sent from rome and signed with the name of ingres followed one another in rapid succession. in 1811 the artist sent his jupiter and thetis (now in the museum at aix), a year later romulus the vanquisher of acron, and afterwards that beautiful scene from antiquity representing virgil reading the sixth canto of the erneid to augustus and octavia , the principal rendering of which is now in the brussels museum, while admirable drawings by the master’s hand for the same subject (the most important is now at the louvre) have been reproduced by every process of engraving. about this same time — that is, before his return to paris — he executed some smaller pictures, such as francesca da rimini y raphael and the fornarina y and the entry of charles f., which are not without some affinity in subject and composition to the work of certain romantic painters of a later date ; and this suggests that ingres might well have boasted of being the precursor of a school whose most determined adherents combated his views with unexampled animosity. but, to tell the truth, if he was the first apostle of the romantic, he remained the last supporter of the classic. ingres had all this time to struggle with the indifference of his con- temporaries, and in order to secure a modest provision for his material necessities he was obliged to draw, and to sell for ridiculous prices, those little pencil portraits which his fame has made so precious that nowadays lovers of art bid against one another for their possession, and do not grudge banknotes in paying for them. towards the end of his life, when xi jean-auguste-dominique ingres recalling those years of penury, ingres declared that he had produced more than three hundred of these pencil portraits for various foreigners passing through rome or temporarily settled there, and he calculated that a maximum figure of 8000 francs would represent the entire sum that he made by this modest work. originally a finished pencil portrait by ingres was priced at about 40 francs for a “head and shoulders/' or 60 for a full-length study. a cicerone of the town, a sort of guide-inter- preter, who sometimes brought his temporary employers to have their likenesses taken, received the fee of one crown for each introduction. the artist, however, was very sensitive, and insisted on being treated with much circumspection by his sitters. somebody who called one day at his lodging and asked familiarly, “ the portrait-painter ? it’s here, isn’t it?" had the door violently slammed in his face by ingres, who exclaimed haughtily: “no, sir; he who lives here has the honour of thinking himself a painter ! " “ most of the pictures executed after he had ceased to be an inmate of the villa medici," says the vicomte henri delaborde, “ even those which are now the glory of public or private collections, remained in his studio at rome vainly awaiting a purchaser. if by chance some stranger passing through the eternal city came and bought one of those despised canvases, the bargain, concluded by the expenditure of some few hundred francs, was at the actual moment as unprofitable to the seller as it was in the future to prove advantageous to the other party : witness that great odalisque , judged in 1820 to be almost valueless, and now become so famous since the day when it was sold for a price sixty times greater than the terms of its first acquisition — about 1000 francs. when ingres sent his works to the paris exhibitions the reception usually accorded to them was not of a nature to compensate him for the indifference or injustice to which he was subject in rome. professional connoisseurs, the official counsellors of public opinion, vied with one another as to who could pour most open ridicule, sometimes on the i unfortunate audacities/ sometimes on the ‘ deplorable mania for archaism/ of an artist who wanted to set back art for several centuries and resuscitate the style of john of bruges." dominique ingres continued all the while to hope for more justice from his compatriots ; he was fond of quoting beethoven, who when writing of the want of comprehension shown by
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