This essay makes a case for the historical importance and cultural and psychic complexity of Jean‐Auguste‐Dominique Ingres's representations of men, which have tended to be neglected in favour of the painter's much more celebrated and more thoroughly scrutinized representations of women. It focuses on an unfinished portrait of the artist's oldest and dearest friend, Jean‐Pierre‐François Gilibert. I argue that Ingres foregrounded the physical allure and fashionability of his friend in this portrait, thereby overtly specularizing and covertly eroticizing him. The portrait is read as an artefact of an early ‘romantic’ phase of the two men's friendship, one that had to be disavowed in order for them to achieve heterosexual adulthood in accordance with the period's growing dichotomization of homosocial and homoerotic bonds between men. I trace the processes through which Ingres initially disavowed Gilibert – and ultimately, retrospectively re‐embraced him – via the complex role that the latter's portrait played in the decades‐long evolutionary saga of its erstwhile pendant, Ingres's celebrated Self‐Portrait at the Age of Twenty‐Four.

中文翻译：

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Ingres，人的画家

本文论证了让·奥古斯特·多米尼克·英格里斯（Jean-Auguste-Dominique Ingres）的男性形象的历史重要性以及文化和心理复杂性，而人们倾向于忽略这幅画，而倾向于画家更为著名和详尽地审查的女性形象。它的重点是未完成的艺术家最大和最亲爱的朋友让·皮埃尔·弗朗索瓦·吉利伯特（Jean‐Pierre‐François Gilibert）的画像。我认为Ingres在这幅画像中强调了他朋友的身体吸引力和时尚性，从而公开地夸大了他并暗中性爱他。这幅肖像被视为两人友谊的早期“浪漫”阶段的人工制品，为了使他们根据时期实现异性成年，必须予以拒绝。越来越多的男性之间的同性和同性恋关系二分法。我追踪了Ingres最初拒绝Gilibert的过程，并最终追溯地重新拥抱了他-通过Ingres的肖像在过去的坠子长达数十年的进化传奇中扮演的复杂角色，Ingres的庆祝二十四岁的自画像。