Ingres was willing to refer to himself as a historical artist since, because since the establishment of the Royal College of Painting and Sculpture in the 17th century, the traditional classical followers had been considered to be the most advanced level of history painting (the first level of history painting, myths and religious paintings, the second level for custom painting, portrait painting, third grade of landscape painting, still-life painting). On the other hand, when seen through the lens of art history, the portrait paintings and body paintings that Ingres created are considered to be his most remarkable works. On the other hand, if you were to compare his portrait paintings with his body paintings, you would discover that his most impressive accomplishment is creating female body paintings. In the year 1862, the Turkish Bath was established. Following his well-known painting “The Source,” he embarked on a new artistic journey with this picture. In the same way that The Bather of Valpincon reflected that Ingres took advantage of the overall sense and exquisite feeling of the female body to express the pure, clean, and concise beauty, The Turkish Bath demonstrated that Ingres expressed a pure and rich, dynamic and static combination with the assistance of numerous “pure” and “clean” graceful bodies. Despite the fact that Paul and Francesca was not a commercial success, The Turkish Bath was one of the most remarkable works that Ingres had created. The nude figures in the painting created a tone that was somewhere in the middle, and the little patches of blue, red, and yellow colored paint ornamented the middle like diamonds throughout the artwork. It was really harmonized, despite the fact that it was little hazy. In the performance that was given by the ladies, Ingres triumphed over his feelings of love and bestowed to it the legendary enchantment. The shape of each bath was described as “basic” and “clean,” although a significant number of the “simple” and “clean” baths were rather elaborate. Such expression method which used calm and elegant lines and subtle shades to reflect the concrete abstract subjects was derived from the classical tradition, however, the oriental sentiment that the real and beyond real, pure and rich, mellow and strong abstract means and works revealed was never owned by the traditional classical art. “> Ingres was willing to refer to himself as a historical artist since, because since the establishment of the Royal College of Painting and Sculpture in the 17th century, the traditional classical followers had been considered to be the most advanced level of history painting (the first level of history painting, myths and religious paintings, the second level for custom painting, portrait painting, third grade of landscape painting, still-life painting). On the other hand, when seen through the lens of art history, the portrait paintings and body paintings that Ingres created are considered to be his most remarkable works. On the other hand, if you were to compare his portrait paintings with his body paintings, you would discover that his most impressive accomplishment is creating female body paintings. In the year 1862, the Turkish Bath was established. Following his well-known painting “The Source,” he embarked on a new artistic journey with this picture. In the same way that The Bather of Valpincon reflected that Ingres took advantage of the overall sense and exquisite feeling of the female body to express the pure, clean, and concise beauty, The Turkish Bath demonstrated that Ingres expressed a pure and rich, dynamic and static combination with the assistance of numerous “pure” and “clean” graceful bodies. Despite the fact that Paul and Francesca was not a commercial success, The Turkish Bath was one of the most remarkable works that Ingres had created. The nude figures in the painting created a tone that was somewhere in the middle, and the little patches of blue, red, and yellow colored paint ornamented the middle like diamonds throughout the artwork. It was really harmonized, despite the fact that it was little hazy. In the performance that was given by the ladies, Ingres triumphed over his feelings of love and bestowed to it the legendary enchantment. The shape of each bath was described as “basic” and “clean,” although a significant number of the “simple” and “clean” baths were rather elaborate. Such expression method which used calm and elegant lines and subtle shades to reflect the concrete abstract subjects was derived from the classical tradition, however, the oriental sentiment that the real and beyond real, pure and rich, mellow and strong abstract means and works revealed was never owned by the traditional classical art.
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