Here is our old friend the Vicomtesse d'Hausonville. I ran into some of the studies Ingres did for the painting and those are shown below.
Ingres made a number of changes after this drawing, he altered the angle of the head and he has removed the sleeves from her gown. He must have used an entirely different costume in the finished painting. He also reworked the hand that she holds to her chin. The hand in the painting looks a little less natural, but design wise seems to be an improvement over the drawing. The head and the hand flow in the same direction and there is a design dialogue between the two that the drawing doesn't have. Sometimes the natural is not as good as the invented and I think this is a case of that. The remarkableness of her appearance depends partially on that odd hand beneath her chin. In the drawing it is perhaps more natural looking but it is a little ordinary.The hand in the drawing appears square and the hand in the painting is graceful. I wonder if he didn't make up the hand for the painting.
Here is a preliminary drawing for the head. He has turned the head into the position it will have in the painting but the features look more coarse. In the painting he seems to have reduced their size and again the painting is lees naturalistic but it has gained an other worldly rather startling perfected look. The "open" areas (where the features are not) are enlarged. The naturalism of the drawing is more accurate and convincing. But the slight unrealism and oddness of the painting is startling and just enough out of our ordinary expectations of the appearances of things to be curious and interesting.
The slightly bizarre "look" he achieved might not be your cup of tea, although I like it myself. But it is eye catching and more interesting than a more natural look which the drawings show him perfectly able to do. He has deliberately made the thing a little alien. It has a style, and Ingres lived in stylish times.
images from artrenewal.org