The portrait print, Gabriel Cortois de Pressigny by Jean-Auguste-Dominique Ingres, was executed in 1816. This fine example of early 19th-century French printmaking is an etching rendered meticulously on wove paper. Ingres, celebrated primarily for his neoclassical paintings and unparalleled draftsmanship, also utilized printmaking as an effective means of disseminating his portraiture, particularly of prominent political and religious figures during his time in Rome.
The subject, Gabriel Cortois de Pressigny (1745–1823), was a French cleric and diplomat who played a vital role in the Bourbon Restoration era, particularly in negotiating agreements between the French crown and the Papacy. Created during the dynamic historical period spanning 1801 to 1825, this piece reflects the complex post-Revolutionary and Napoleonic environment in France, where figures like de Pressigny were critical in the restoration of traditional institutions.
Ingres’s mastery is evident in the technical execution of this print. The inherent difficulty of the etching medium requires precise control over line and acid exposure, yet Ingres successfully translates the gravity and psychological presence typical of his painted portraits. He uses careful variations in line weight and density to achieve subtle tonal shifts and define the textures of the cleric's vestments, focusing intently on the sitter’s expression and conveying a dignified demeanor.
Unlike Ingres's large oil canvases, this work demonstrates his meticulous draftsmanship in miniature form. Cataloged under the classification of Print, this artwork offers valuable insight into the French cultural landscape of the early 1800s. While originating from the early 19th century, many such works are now often considered part of the public domain, making them widely accessible for scholarly reference. This significant piece resides within the permanent collection of the National Gallery of Art, where it serves as a key representation of Ingres's non-painted output.