was equally true. His portraits of women range from the warmly sensuous Madame de Senonnes (1814) to the realistic Mademoiselle Jeanne Gonin (1821), the Junoesque Marie-Clothilde-Inés de Foucauld, Madame Moitessier (portrayed standing and seated, 1851 and 1856), and the chilly Joséphine-Eléonore-Marie-Pauline de Galard de Brassac de Béarn, Princesse de Broglie (1853). Drawings Drawing was the foundation of Ingres's art. In the Ecole des Beaux-Arts he excelled at figure drawing, winning the top prizes. During his years in Rome and Florence, he made hundreds of drawings of family, friends, and visitors, many of them of very high portrait quality. He never began a painting without first resolving the drawing, usually with a long series of drawing in which he refined the composition. In the case of his large history paintings, each figure in the painting was the subject of numerous sketches and studies as he tried different poses. He demanded that his students at the Academy and the Ecole des Beaux-Arts perfect their drawing before anything else; he declared that a "thing well drawn is always a thing well painted". His portrait drawings, of which about 450 are extant, are today among his most admired works. While a disproportionate number of them date from his difficult early years in Italy, he continued to produce portrait drawings of his friends until the end of his life. Agnes Mongan has written of the portrait drawings:Before his departure in the fall of 1806 from Paris for Rome, the familiar characteristics of his drawing style were well established, the delicate yet firm contour, the definite yet discreet distortions of form, the almost uncanny capacity to seize a likeness in the precise yet lively delineation of features.The preferred materials were also already established: the sharply pointed graphite pencil on a smooth white paper. So familiar to us are both the materials and the manner that we forget how extraordinary they must have seemed at the time ... Ingres' manner of drawing was as new as the century. It was immediately recognized as expert and admirable. If his paintings were sternly criticized as "Gothic," no comparable criticism was leveled at his drawings. His student Raymond Balze described Ingres's working routine in executing his portrait drawings, each of which required four hours, as "an hour and a half in the morning, then two-and-a-half hours in the afternoon, he very rarely retouched it the next day. He often told