This luxurious and even sensual publication gives an extensive insight into the works of the great classicist painter. The large format and the excellent reproduction do his canvases great justice. The subtle silk binding of the volume is undoubtedly a reference to the opulence of silk found in many of his portraits. Andrew Carrington Shelton writes a very legible text, and his epilogue where he places Ingres in modern and contemporary context is especially noteworthy.
A very satisfactory overview of the artist and his works. The criticism is always perceptive, sometimes provocative, and habitually brutal: one might accuse Shelton of spoiling the fun by mercilessly enumerating the more dubious aspects of the paintings. I have become conscious of a hundred flaws in anatomy or perspective, and a particularly vicious comparison will haunt me wherever I turn to look at Angelica saved by Ruggiero. But, fittingly for a book of this kind, the author resists the temptation to place any final verdict on his subject, and the dedicated Ingrist escapes with his prejudices intact.