 Ingres seems to have adapted elements of the approach and technique of Hans Holbein 's 1527 Portrait of William Warham , now in the Louvre . Neither artist placed much emphasis on colour , preferring dark or cool tones . The Warham portrait seems to have informed the indicators of Bertin 's aging and the emphasis on his fingers . Jacques @-@ Louis David also explored hyper @-@ realism in his depictions of Cooper Penrose ( 1802 ) and Emmanuel Joseph Sieyès ( 1817 ) . In the later painting , David shows tiny glints of light reflecting on the sitter 's chair and painstakingly details " every wayward curl of [ Sieyès ' ] closely cropped auburn hair . " 
 Ingres <a href='uninflect' title='1'><mark>seems</mark></a> to <a href='been_done' title='2'><mark>have</mark></a> adapted elements of the approach and technique of Hans Holbein <a href='null_genetive' title='3'><mark>'s</mark></a>1527 Portrait of William Warham , now in the Louvre . Neither artist placed much emphasis on colour , preferring dark or cool tones . The Warham portrait <a href='uninflect' title='4'><mark>seems</mark></a> to <a href='been_done' title='5'><mark>have</mark></a> informed the indicators of Bertin <a href='null_genetive' title='6'><mark>'s</mark></a>aging and the emphasis on his fingers . Jacques @-@ Louis David also explored hyper @-@ realism in his depictions of Cooper Penrose ( 1802 ) and Emmanuel Joseph Sieyès ( 1817 ) . In the later painting , David <a href='uninflect' title='7'><mark>shows</mark></a> tiny glints of light reflecting on the sitter <a href='null_genetive' title='8'><mark>'s</mark></a>chair and painstakingly details " every wayward curl of [ Sieyès ' ] closely cropped auburn hair . " 
Ingres seem to done adapted elements of the approach and technique of Hans Holbein  1527 Portrait of William Warham , now in da Louvre . Neither artist placed much emphasis on colour , preferring dark or coo tones . The Warham portrait seem to done informed tdaindicators of Bertin  aging and thdamphasis on his fingers . Jacques @-@ Louis David also explored hyper @-@ realism in his depictions of Cooper Penrose ( 1802 ) and Emmanuel Joseph Sieyès ( 1817 ) . In the later painting , David show tiny glints of light reflecting on thedatter  chair and painstakingly details " every wayward curl of [ Sieyès ' ] closely cropped auburn hair . "