Ingres's own paintings vary considerably in their use of colour, and critics were apt to fault them as too grey or, contrarily, too jarring.Ribeiro 1999, p. 18. Baudelaire—who said "M. Ingres adores colour like a fashionable milliner"—wrote of the portraits of Louis-François Bertin and Madame d'Haussonville: "Open your eyes, nation of simpletons, and tell us if you ever saw such dazzling, eye-catching painting, or even a greater elaboration of colour". Ingres's paintings are often characterized by strong local colours, such as the "acid blues and bottle greens" Kenneth Clark professed to "perversely enjoy" in La Grande Odalisque.Clark 1976, p. 121. In other works, especially in his less formal portraits such as the Mademoiselle Jeanne-Suzanne-Catherine Gonin (1821), colour is restrained.
Ingres's own paintings vary considerably in their use of colour and critics were apt to fault them as too grey or contrarily too jarringRibeiro 1999 p 18 Baudelaire—who said "M Ingres adores colour like a fashionable milliner"—wrote of the portraits of Louis-François Bertin and Madame d'Haussonville "Open your eyes nation of simpletons and tell us if you ever saw such dazzling eye-catching painting or even a greater elaboration of colour" Ingres's paintings are often characterized by strong local colours such as the "acid blues and bottle greens" Kenneth Clark professed to "perversely enjoy" in La Grande OdalisqueClark 1976 p 121 In other works especially in his less formal portraits such as the Mademoiselle Jeanne-Suzanne-Catherine Gonin (1821) colour is restrained