an emotional link between figurative and landscape art, and the watery scape behind the sitter evokes rhythms with many of the visual themes presented in the rich imagery of the foreground. In 2003, the art critic Jonathan Jones remarked of the painting, The sexuality Ingres usually reserved for harem fantasies slips over into the real and respectable world in this charged portrait. His obviously intense visual relationship with his subject and his contentment to look, with a clinical waxy fetishism, at Mademoiselle Rivière's full lips, bared neck, long gloves and spectacularly serpentine boa, lend this picture drama." Mademoiselle Caroline Rivière was bequeathed to the Louvre in 1870 by Caroline Rivière's sister-in-law. Notes Bibliography Mackrell, Alice. Art and Fashion. London: Batsford, 2005. Rosenblum, Robert. Ingres. London: Harry N. Abrams, 1990. Toussaint, Hélène. Les Portraits d'Ingres. Paris: Ministère de la Culture, Editions de la Reunion des musées nationaux, 1985. 28–31. Whiteley, Jon. "Ingres. London, Washington and New York". The Burlington Magazine, Volume 141, Number 1154, May, 1999. External links Analysis at artble.com 2003 Guardian discussion on the relationship between the artist and sitter's mother Entry on Louvre website Portraits by Jean-Auguste-Dominique Ingres 1806 paintings Paintings in the Louvre by French artists 19th-century portraits Portraits of women Portrait paintings in the Louvre