10 Orientalist Paintings by Artists from the 19th Century, with footnotes, #13

Orientalism is a term that is used for the depiction of aspects in Middle Eastern cultures. It refers to the works of the Western artists on Oriental subjects, produced from their travels in Western Asia, during the 19th century. Depictions of Islamic "Moors" and "Turks" can be found in Medieval, Renaissance, and Baroque art. A creative apprehension of a completely different world with its own laws, customs, special attitude towards life and death, love, feelings, and beauty. Wikipedia/Yana Naumovna Lukashevskaya

Victor Huguet, 1835 - 1902, FRENCH

RIDERS IN A RAVINE 

Oil on canvas

118 by 100cm., 46½ by 39¼in

Private Collection

Huguet's painting befits the monumental ravine landscape it depicts: sheer cliffs frame a deep ravine through which a wadi meanders, serving as watering place for a group of Bedouin riders crossing a vast landscape. More on this painting

Victor Pierre Huguet , born Lude the 1 st May 1835 and died in Paris August 16, 1902, was a French, landscape and genre painter.. He was a pupil of Emile Loubon in Marseille and received advice from Fromentin in Paris.

In 1852, aged 17, he traveled to Egypt, then to Crimea where he accompanied Durand-Brager before the siege of Sebastopol. He was profoundly influenced by the landscapes he passes through and that will influence his inspiration to Orientalism, where he soon made a name. Discovering Algeria a few years later, he drew from many sources of inspiration.

He exhibited at the Salons de Marseille and Paris in 1859 and the Salon of French Orientalist Painters at its inception in 1893. He was the leading Orientalist artists of Provence. More Victor Pierre Huguet

Adolf Schreyer, 1828 - 1899, GERMAN

RESTING CAVALIERS

Oil on canvas

81 by 129cm., 32 by 50¾in.

Private Collection

Adolf Schreyer (July 9, 1828 Frankfurt-am-Main – July 29, 1899 Kronberg im Taunus) was a German painter, associated with the Düsseldorf school of painting. He studied art, first at the Städel Institute in his native town, and then at Stuttgart and Munich. He painted many of his favourite subjects in his travels in the East. He first accompanied Maximilian Karl, 6th Prince of Thurn and Taxis through Hungary, Wallachia, Russia and Turkey; then, in 1854, he followed the Austrian army across the Wallachian frontier. In 1856 he went to Egypt and Syria, and in 1861 to Algiers. In 1862 he settled in Paris, but returned to Germany in 1870; and settled at Cronberg near Frankfurt, where he died.

Schreyer was, and is still, especially esteemed as a painter of horses, of peasant life in Wallachia and Moldavia, and of battle incidents. His work is remarkable for its excellent equine draughtsmanship, and for the artist's power of observation and forceful statement; and has found particular favour among French and American collectors. Of his battle-pictures there are two at the Schwerin Gallery, and others in the collection of Count Mensdorff-Pouilly and in the Raven Gallery, Berlin. More Adolf Schreyer

 

Adolf Schreyer, 1828-1899, GERMAN

THE ADVANCE

Oil on canvas

86 by 116cm., 33¾ by 45½in.

Private Collection

Jean Lecomte du Nouÿ, 1842 - 1923, FRENCH

THE SENTINEL

Oil on canvas

38.5 by 30cm., 15 by 12in

Private Collection

The sentinel's Ottoman weapons are observed so faithfully that the artist must have seen them in the original, from the chibouk (Turkish tobacco pipe) with its gilt tophane bowl and mouthpiece and lavender enamelled shaft; to the curved shamshir sword with its horn hilt; and the flintlock rifle with its ivory butt plate. More on the sentinel

Jean-Jules-Antoine Lecomte du Nouÿ (10 June 1842 in Paris – 19 February 1923 in Paris) was an Orientalist French painter and sculptor. He was strongly influenced by the works and teachings of Charles Gleyre and Jean-Léon Gérôme. Lecomte du Nouÿ found inspiration for his art through extensive travels to Greece, Turkey, Egypt and Italy. The thematic content of Lecomte du Nouÿ’s work was mainly figural, but also spanned over a vast range of imagery throughout his career, including classical, historical and religious.

Lecomte is known for remaining faithful to his detailed, realistic style throughout the extent of his career, despite the onset of the Impressionist, Fauvist and Constructivist artistic movements during his lifetime. His work is said to have contributed significantly to the establishment of an iconic repertoire representing the Orient in the nineteenth century. A Parisian street was named after him in 1932. More Jean-Jules-Antoine Lecomte du Nouÿ

Rudolf Ernst, 1854-1932, AUSTRIAN

THE FORTUNE TELLER, CAIRO

Oil on panel

73 by 58.5cm., 28¾ by 23in.

Private Collection

In this setting Ernst has taken inspiration from the portal of the Sultan Hasan Mosque in Cairo, regarded as the greatest mosque of the medieval Islamic world. Commissioned by Sultan al-Nasir Hasan, construction began in 1356. 

Ernst depicts a side gate to the mosque, with its great copper doors and niche with muqarnas decoration, in whose entrance a fortune teller or sufi mystic dispenses his wisdom to a man wearing a Turco-Egyptian hat known as a tarboosh. Men queue up in their dozens in the the blazing afternoon heat to await their turn to be blessed or enlightened. More the fortune teller

Rudolf Ernst (14 February 1854, Vienna - 1932, Fontenay-aux-Roses) was an Austro-French painter, printmaker and ceramics painter who is best known for his orientalist motifs. He exhibited in Paris under the name "Rodolphe Ernst".

He was the son of an architect and, encouraged by his father, began studies at the Academy of Fine Arts Vienna at the age of fifteen. He spent some time in Rome, copying the old masters, and continued his lessons in Vienna with August Eisenmenger and Anselm Feuerbach.

In 1876, he settled in Paris. The following year, he participated in his first artists' salon. He later made trips to Spain, Morocco, Egypt and Constantinople to study and document what he saw there.

In 1905, he moved to Fontenay-aux-Roses where he set up a shop to produce faience tiles with orientalist themes. He decorated his home in Ottoman style and lived a reclusive life. His exact date of death was apparently not recorded. More Rudolf Ernst 

Alphons Mielich, 1863 - 1929, AUSTRIAN

THE CARPET SELLER

Oil on panel

61 by 50cm., 24 by 19½in.

Private Collection

Mielich's compositions of Cairene markets, bazaars and cafés offered contemporary audiences an exotic yet faithful view of Egyptian street life. Standing outside a mosque in the Haret el Yahoud district of the city, with the distinctive moon crescent and star motif and decked in wooden ‘alam finials (used as processional standards), three merchants engage in animated negotiation over a group of Moroccan rugs, Rabat, nineteenth-century, and others including kilims folded and stacked in the background. Hanging to the left of the doorway is a silk appliqué panel, Uzbekistan, nineteenth-century, with stylised geometric motifs and an azure blue ground and deep dark brown border. More the merchant

Alphons Leopold Mielich (Klosterneuburg, 27 January 1863 - Salzburg, 25 January 1929) was an Austrian orientalist painter. In 1902, he traveled with the Czech scholar Alois Musil to the Umayyad desert castle Qasr Amra, then in the Ottoman Empire (modern-day Jordan), where he copied some of the paintings discovered there. More Alphons Leopold Mielich

Ludwig Deutsch, 1855-1935, AUSTRIAN

THE PROCESSION OF THE MAHMAL THROUGH THE STREETS OF CAIRO, c. 1909

Oil on canvas

284 by 294cm., 111¾ by 115¾in.

Private Collection

The procession of the title is wonderfully arranged. Foremost is a dervish, someone who follows a Sufi Muslim tariqa or path. These mendicant ascetics are known for their poverty and austerity. The man’s expressive features portray his participating emotion. Behind him follow other members of the religious community, identified by the colour of their turbans: dark green for the Rifa’iya order, red for the Ahmadiya order, and white for the followers of `Abd al-Qadir al-Jilani. With staves in their hands they fan in an arc towards the figure in green, probably a Sufi shaykh and presumably a Sharif, a descendant of the Prophet. This central figure is positioned directly below the Mahmal, the focus of the festive occasion, and a central part in the annual departure and return of the pilgrimage caravan. More Procession of the Mahmal.

Ludwig Deutsch, 1855-1935, was born in Vienna to a well-to-do family. He began studying at the Academy of Fine Arts after completing high school. He studied in the atelier of Alselm Feuerbach along with the painter Rudolf Ernst, his contemporary, who was also an Orientalist and lifelong friend. 

Deutsch decided to move to Paris to continue his studies. Deutsch set up a studio on the Rue Pelletier, and sent a portrait to the Paris Salon in 1879. It was in 1881 that he began painting Orientalist works. He began making paintings that focused on single figures instead of the groups of people that he had been painting before. 

Deutsch traveled to Egypt in 1886 for the first time, resulting in a number of paintings of everyday street scenes. He visited again in 1890, and frequently did so over the next few years. 

Deutsch won the Gold Medal at the Paris Salon in 1900. His work sold well, with buyers being drawn to his incredible attention to detail. He continued painting through the next decade and a half till the outbreak of the First World War, when he was forced to flee Paris. 

Deutsch became a French citizen in around 1919e. Though he was a studio-painter, his travels in Egypt lent color and atmosphere that rendered his paintings authentic. Deutsch continued living and working in Paris till his death in 1935. More Ludwig Deutsch

Ludwig Deutsch

The Della'l, Cairo, 1883

Oil on panel

32.5 by 24.5cm., 12¾ by 9¾in.

Private Collection

A single male figure, silhouetted against an architecturally distinctive door or entrance way.  The man’s ankle-length black-and-white striped woolen abāya identifies him as an itinerant worker in this Egyptian scene; he is probably a della’l, or broker, hired by one of the local shopkeepers.  As the noted nineteenth-century Arabic scholar Edward William Lane (1801-1876) explained, “In many of the nooks of Cairo auctions are held on stated days. They are conducted by delláls, or brokers, hired either by persons who have anything they wish to sell in this manner, or by shopkeepers. The Delláls carry the goods up and down, announcing the sums bidden for them with cries of Harraj, harraj, etc." In Deutsch’s painting, the man gestures emphatically and continues his familiar calls, though he has momentarily set down the eclectic array of goods he has been appointed to vend. More on this painting

Georg Emanuel Opiz, 1775 - 1841, GERMAN

THE ARRIVAL OF THE MAHMAL AT AN OASIS EN ROUTE TO MECCA

Oil on canvas

165.5 by 253cm., 65 by 99½in.

Private Collection

In the foreground a meeting is taking place between a religious leader and an Ottoman official. On the right side of the composition are the Ottoman dignitaries. Mounted on his Arab stallion appears to be an emissary of the Sultan or a governor of the province, behind and beside him are janissaries and soldiers of the Ottoman Court who hold aloft Ottoman flags decorated with the zulfiqar, the sword originally used by the son-in-law of the Prophet Mohammed. To either side of the flags are the distinctive horsetail plumes (Army Dress Helmets) of the Ottoman tughs. Ottoman officials line up on the emissary's left, at the far end of which appears the head courier of the grand vizier.

Paying homage to the Ottoman party is a senior religious leader, dressed in traditional green robes in the style of the grand mufti, his green garb signifying that he has made the pilgrimage before. Behind him is the court imam, and to their right, in the centre of the composition, mounted on the highly decorated camel is the mahmal, the elaborate coffer containing the Koran that accompanies the pilgrims to Mecca. To the left of the camel three dervishes, distinguished by their hair-styles and conical hats, survey the mahmal and dignitaries before them. More THE MAHMAL AT AN OASIS

Georg Emanuel Opiz (born 4 April 1775 in Prague , 12 July 1841 in Leipzig ). He studied in Dresden and later Vienna where he is said to have been a pupil of Francesco Guiseppi Casanova (1727-1803), a painter of battle pieces. In his early years Opiz concentrated his practice around portraiture, and he later became a skilled miniaturist, water colourist, and engraver. From 1807, he specialised in satirical genre scenes, many of them in Paris, where he travelled in 1814 in the retinue of the Duchesse de Courlande. He later worked in Heidelberg and Altenberg, settling in Leipzig in 1820. With his extensive travels around Europe, his subject matter changed to military and genre painting, and included large scale history paintings of military ceremonies in Sweden, Denmark, England and Russia, although few are known to have survived. More Georg Emanuel Opiz

Eugène-Alexis Giradet

Mending, c. 1896

Oil on canvas

18 1/4 by 21 3/4 in., 46.3 by 55.2 cm

Private collection

Eugène Alexis Girardet (31 May 1853, Paris - 5 May 1907, Paris) was a French Orientalist painter, who came from a Swiss Huguenot family. He studied at the École des Beaux-arts and in the studios of Jean-Léon Gérôme, who encouraged him to visit North Africa in 1874.

In all, he made eight trips to Algeria after 1879, especially to the south, around the oases of Biskra, El Kantara and Bou Saâda.  In 1898, he visited Egypt and Palestine, producing many works depicting the lives of desert nomads.

He exhibited regularly at the Salon and with the Société des Peintres Orientalistes Français (of which he was one of the founding members), with major shows at the Exposition Universelle (1900) and the Exposition Coloniale de Marseille of 1906. More Eugène Alexis Girardet 




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10 Orientalist Paintings by Artists from the 19th Century, with footnotes, 12

Victor Huguet, 1835 - 1902

MARKET IN THE DESERT

Oil on canvas

66 by 86.5cm., 26 by 34in.

Private Collection

While Huguet’s desert scenes typically depict riders advancing through the landscape, or pausing briefly for a drink at a wadi, this particularly atmospheric, impressionistic example evokes the bustle of a gathered crowd. Clothed in burnous of varying designs and colours for protection from the harsh environment, in the foreground the figures are surrounded by a range of wares, from horse saddles, rugs and ceramics to livestock such as the trio of goats to the left. 

Victor Pierre Huguet , born Lude the 1 st May 1835 and died in Paris August 16, 1902, was a French, landscape and genre painter.. He was a pupil of Emile Loubon in Marseille and received advice from Fromentin in Paris.

In 1852, aged 17, he traveled to Egypt, then to Crimea where he accompanied Durand-Brager before the siege of Sebastopol. He was profoundly influenced by the landscapes he passes through and that will influence his inspiration to Orientalism, where he soon made a name. Discovering Algeria a few years later, he drew from many sources of inspiration.

He exhibited at the Salons de Marseille and Paris in 1859 and the Salon of French Orientalist Painters at its inception in 1893. He was the leading Orientalist artists of Provence. More Victor Pierre Huguet

Alberto Pasini, 1826 - 1899, ITALIAN

THE ROUT, c. 1884 lower right

Oil on canvas

82 by 121cm., 32¼ by 47¾in

Private Collection

Alberto Pasini (Busseto, 3 September 1826 – Cavoretto, 15 December 1899) was an Italian painter. He was enrolled at the age of 17 years, in the Academy of Fine Art of Parma, studying landscape painting and drawing. In Parma, he was helped early on by Antonio Pasini, who painted for the local nobility and collaborated with the publishing house established by Giovanni Battista Bodoni. By 1852, he exhibited a series of thirty designs, made into lithographs, depicting various castles around Piacenza, Lunigiana and Parma. He was noticed by the artist Paolo Toschi, who encouraged Pasini to travel to Paris, where Pasini first joined the workshop of Charles and Eugène Ciceri, of the so-called School of Barbizon.

Alberto Pasini, 1826 - 1899, ITALIAN

THE ROUT, c. 1884 lower right

Detail

In 1853 his lithograph of The Evening gained him admittance to the Paris Salon, and to the workshop of the famous Théodore Chassériau. The eruption of the Crimean War offered a new opportunity, when in February 1855, this latter painter recommended Pasini to replace him on the entourage of the French plenipotentiary minister Nicolas Prosper Bourée to Persia. Pasini accompanied him, returning through the north of Persia and Armenia before reaching the port of Trebizond. In subsequent trips, he visited Egypt, the Red Sea, Arabia, Istanbul, and Persia. Pasini parlayed his exposures during this trip into numerous highly detailed paintings of orientalist subjects. He left again for Istanbul in October 1867, summoned by the French Ambassador Bourée. He returned to Turkey in 1876 to execute the four paintings commissioned by Sultan Abdul Aziz. He was about to return to Istanbul the next year, when his patron, the Sultan, died.

In 1865, he spent some time in Cannes, painted landscapes of the Riviera. During the Franco-Prussian War of 1870, he returned to Italy, settling in Cavoretto, on the hills around Turin. He continued to travel, closer to his home, with trips to Venice and two sojourns in Spain in 1879 and 1883. More Alberto Pasini 

Eugen Bracht, 1842-1921, SWISS

REST IN THE SYRIAN DESERT, c. 1883

Oil on canvas

65 by 125cm., 25½ by 49¼in.

Private Collection

In this atmospheric work, a group of journeying men make a halt in the desert against the backdrop of a range of barren hills. The figure standing by his camel holds a spear, while his companions lie or sit in a circle talking. With great mastery, Bracht evokes the utter stillness and loneliness of the desert air. The broad viewpoint and photographic illusionism in the painting no doubt owe something to Bracht's work as a panorama painter in the early 1880s, notably on the landscape sections for the Sedan Panorama, commissioned to commemorate the Prussian victory in the Battle of Sedan in the Franco-Prussian War. More REST IN THE SYRIAN DESERT

Eugen Felix Prosper Bracht, (1842–1921)

"Memory of Gizeh", c. 1883 

Oil on wood

15.5 x 21.5 cm 

Private Collection

Eugen Felix Prosper Bracht (3 June 1842 – 5 November 1921) was a German landscape painter. Bracht was born in Morges, Waadt (near Lake Geneva in Switzerland) of German parents. They then moved to Darmstadt, Germany where he was a pupil of Karl Ludwig Seeger at the Academy of Fine Arts, Karlsruhe. Later he studied under Hans Gude in Düsseldorf. Dissatisfied with his work, in 1864 he moved to Berlin and became a merchant. In 1876 he decided to become a painter after all and he joined his former teacher in Karlsruhe. He mostly painted landscapes and was one of the famous painters of the late Romanticism in Germany.

He was known for landscapes and coastal scenes in North Germany, and in 1880 and 1881, he made a sketching trip through Syria, Palestine and Egypt. In 1882 he became a Professor of Landscape Painting at the Prussian Academy of Arts. In 1885 he painted the Battle of Chattanooga for the "Philadelphia Panorama Company", a cyclorama which was installed in Philadelphia and Kansas City.

Bracht was supported by Anton von Werner, the conservative director of the Berlin Academy, but broke off with him during the affair of the closure of Edvard Munch's Berlin exhibition in 1892.

When von Werner died, Bracht finished a panorama of the Battle of Sedan which Werner had begun. Later he became a representative of German Impressionism.

In 1901 he obtained a teaching position at the Dresden Academy of Fine Arts that he held until 1919. After his retirement he lived in Darmstadt, where he died in 1921. More Eugen Felix Prosper Bracht 

Giulio Rosati, 1858 - 1917, ITALIAN

THE DANCE

Oil on canvas

52.5 by 82cm., 20¾ by 32¼in.

Private Collection

The wealth of intricate details, luxurious fabrics and the lyrical composition of The Dance showcase Rosati's exceptional skill at combining ethnographic accuracy with spontaneous brushstrokes. The artist's profound passion for the Orient is evident as much through the fascinating array of objects, materials and architecture as the varied characters and personalities he has chosen as his cast. Despite the conviction with which Rosati rendered his scene, the artist's journeys to the Middle East were purely metaphorical - he never visited the region instead relying on photographic evidence and souvenirs for his inspiration.

Giulio Rosati, 1858 - Rome - 1917,  specialised in eighteenth century costume pieces, comical scenes of from the life of the clergy and Orientalist subjects. His preferred medium was watercolour, though he also worked in oils.

Rosati studied at the Academy of Rome. He was the pupil of several eminent artists, in particular the poet and architect Francesco Podesti (1800-1895) and Dario Querci (born 1831), a portrait and history painter from Messina. He also studied with Luis Alvarez y Catala (1836-1901), director of the Prado Museum, Madrid.

Giulio Rosati, (Italian, 1858-1917) 

Bedouins preparing a raiding party, c. 1895

Watercolour on paper 

29¾ x 21 in. (75.5 x 54 cm.) 

Private Collection

Rosati was one of a large group of Italian Orientalist painters working in Rome at the end of the nineteenth century. These artists emulated Mariano Fortuny y Marsal in his skilful rendering of detail and bright colouring. This manner was particularly popular with American and British collectors, many of whom purchased these images as a memento of their travels in the Near East, a voyage very much in vogue at the end of the last century.

Guilio Rosati had a son Alberto who also became an artist. His manner is very much indebted to his father, but he was not so prolific. More Giulio Rosati

Adolf Schreyer, 1828 - 1899, GERMAN

HORSEMEN AT A WATERING HOLE

Oil on canvas

67 by 87.5cm., 26¼ by 34½in.

Private Collection

Adolf Schreyer (July 9, 1828 Frankfurt-am-Main – July 29, 1899 Kronberg im Taunus) was a German painter, associated with the Düsseldorf school of painting. He studied art, first at the Städel Institute in his native town, and then at Stuttgart and Munich. He painted many of his favourite subjects in his travels in the East. He first accompanied Maximilian Karl, 6th Prince of Thurn and Taxis through Hungary, Wallachia, Russia and Turkey; then, in 1854, he followed the Austrian army across the Wallachian frontier. In 1856 he went to Egypt and Syria, and in 1861 to Algiers. In 1862 he settled in Paris, but returned to Germany in 1870; and settled at Cronberg near Frankfurt, where he died.

Schreyer was, and is still, especially esteemed as a painter of horses, of peasant life in Wallachia and Moldavia, and of battle incidents. His work is remarkable for its excellent equine draughtsmanship, and for the artist's power of observation and forceful statement; and has found particular favour among French and American collectors. Of his battle-pictures there are two at the Schwerin Gallery, and others in the collection of Count Mensdorff-Pouilly and in the Raven Gallery, Berlin.  More

Rudolf Ernst, 1854-1932, AUSTRIAN

THE PERFUME MAKERS

Oil on panel

55.5 by 45cm., 22 by 17¾in

Private Collection

The Perfume Makers is an evocation of perfect feminine conviviality and complicity. Two young women are seen working in harmony together; as one girl enters the room carrying a basket of roses, her companion plucks the petals and places them in the urn by her side, ready for crushing to extract their aromatic essence. While the scene is one of tranquility and modesty, the luxuriant and plentiful petals whose scent is almost palpable, the azur blue sky and distant sun-drenched seashore glimpsed through the doorway, the colourful tiles, and the eastern copper and earthenware lend the painting an unspoken sensuality and exotic atmosphere.

Despite their ethnographic detail, depictions of middle-eastern women like this are ultimately constructs of the artist's imagination, since Westerners would have been prohibited by local custom from observing many of the places and customs they painted. More The Perfume Makers

Rudolf Ernst (14 February 1854, Vienna - 1932, Fontenay-aux-Roses) was an Austro-French painter, printmaker and ceramics painter who is best known for his orientalist motifs. He exhibited in Paris under the name "Rodolphe Ernst".

He was the son of an architect and, encouraged by his father, began studies at the Academy of Fine Arts Vienna at the age of fifteen. He spent some time in Rome, copying the old masters, and continued his lessons in Vienna with August Eisenmenger and Anselm Feuerbach.

In 1876, he settled in Paris. The following year, he participated in his first artists' salon. He later made trips to Spain, Morocco, Egypt and Constantinople to study and document what he saw there.

In 1905, he moved to Fontenay-aux-Roses where he set up a shop to produce faience tiles with orientalist themes. He decorated his home in Ottoman style and lived a reclusive life. His exact date of death was apparently not recorded. More Rudolf Ernst 

Alphonse Etienne Dinet (français, 1861 - 1929)

(UNKNOWN) THE PERFUME MAKER

Oil on canvas

65 x 81 cm. (25.6 x 31.9 in.)

Private Collection

Nasreddine Dinet (born as Alphonse-Étienne Dinet on 28 March 1861 – 24 December 1929, Paris) was a French orientalist painter. From 1871, he studied at the Lycée Henry IV, where the future president Alexandre Millerand was also among the students. Upon graduation in 1881 he enrolled in the École nationale supérieure des Beaux-Arts and entered the studio of Victor Galland. The following year he studied under William Bouguereau and Tony Robert-Fleury at the Académie Julian. He also exhibited for the first time at the Salon des artistes français.

Dinet made his first trip to Bou Saâda by the Ouled Naïl Range in southern Algeria in 1884, with a team of entomologists. The following year he made a second trip on a government scholarship, this time to Laghouat.[1] At that time he painted his first two Algerian pictures: les Terrasses de Laghouat and l’Oued M’Sila après l’orage.

He won the silver medal for painting at the Exposition Universelle in 1889, and in the same year founded the Société Nationale des Beaux-Arts along with Meissonier, Puvis de Chavannes, Rodin, Carolus-Duran and Charles Cottet. In 1887 he further founded with Léonce Bénédite, director of the Musée du Luxembourg, the Société des Peintres Orientalistes Français.

In 1903 he bought a house in Bou Saâda and spent three quarters of each year there. He announced his conversion to Islam in a private letter of 1908, and completed his formal conversion in 1913, upon which he changed his name to Nasr’Eddine Dinet. In 1929 he and his wife undertook the Hajj to Mecca. The respect he earned from the natives of Algeria was reflected by the 5,000 who attended his funeral on 12 January 1930 in Bou Saâda. There he was eulogized by the former Governor General of Algeria Maurice Viollette. More Nasreddine Dinet 

Georges Washington, 1827 - 1910, FRENCH

CAVALIERS ARABES

oil on canvas

66 by 92.5cm., 26 by 36½in

Private Collection

George Washington, born 15 September 1827 in Marseille and died November 19, 1901 in Douarnenez, was a French Orientalist painter. Like most aspiring artists, the young Georges Washington moved to Paris, where he trained at the Ecole des Beaux Arts under François-Edouard Picot (1786-1868). The artist’s exotic style was also indebted to Eugène Delacroix (1798-1863). Washington’s art conveys a similar feeling to the work of Eugène Fromentin (1820-76) who often painted naturalistic Middle Eastern scenes of rural and nomadic life. Washington’s love of the Middle East and its customs was further enhanced and encouraged by his father-in-law, the military and Orientalist painter Henri-Félix-Emmanuel Philippoteaux (1815-1884), whose daughter Anne-Léonie Philippoteaux married Washington in Paris on 6th August 1859.

Georges Washington, 1827 - 1910, FRENCH

CAVALIERS ARABES

dETAIL

Not long after finishing his training at the Ecole des Beaux Arts, Washington embarked on the first of a number of trips to Algeria and based on close observation of its inhabitants, their dress and customs in 1857 he made his Paris debut at the Salon des Artistes Français with a view of nomads titled Plaine du Hoiina (Sahara Algérien). From then up until 1901 Washington continued to be a popular exhibitor at the Salon; one of his first works shown there to gain critical acclaim was Nomades dans le Sahara en Hiver. In addition to Paris, Washington also showed his work in Moscow in 1881 and was later posthumously honoured when four of his paintings were included in the Exposition Coloniale de Marseille in 1906.

Following two commissions from a Belgian company, he travelled to Morocco and then subsequently visited Hungary, Bulgaria and Turkey, which were to inspire his varied subjects including battle scenes and cavalry skirmishes. His travels also took him to America for the unveiling in Philadelphia of a cyclorama (a monumental 360° panoramic view) of the Battle of Gettysburg by his brother-in-law Paul-Dominique Philippoteaux (1846-1923).

Following the death of his wife he retired to live with his daughter and son-in-law at Douarnenez on the Brittany coast, where he died shortly after on 19th November 1901. More George Washington

Acknowledgement: Sotheby's, 

Images are copyright of their respective owners, assignees or others

We do not sell art prints, framed posters or reproductions. Ads are shown only to compensate the hosting expenses.

If you enjoyed this post, please share with friends and family.

12 Paintings of the Canals of Venice in the 18 & 19th Century, by the artists of the time, with foot notes. #5

Richard Price, (British, born 1962)

April Day in Venice

Oil on canvas

51 x 61cm (20 1/16 x 24in).

Private Collection

The Patriarchal Cathedral Basilica of Saint Mark, commonly known as Saint Mark's Basilica, is the cathedral church of the Roman Catholic Archdiocese of Venice, northern Italy. It is the most famous of the city's churches and one of the best known examples of Italo-Byzantine architecture. It lies at the eastern end of the Piazza San Marco, adjacent and connected to the Doge's Palace. Originally it was the chapel of the Doge, and has only been the city's cathedral since 1807.

For its opulent design, gold ground mosaics, and its status as a symbol of Venetian wealth and power, from the 11th century on the building has been known by the nickname Chiesa d'Oro (Church of gold). More Saint Mark's Basilica

Richard Price was born in 1962 in Upminster, Essex. At 11 years of age he started painting and drawing from observing the fishing fleet at Leigh-on-Sea, Essex. Encouraged to simply paint ‘anything’ he quickly was drawn to paint atmospheric conditions and light effects.

He later studied at Portsmouth. Price then moved to London and worked as a production design lecturer at the London International Film School. In 2001 he started to make his own images again. Encouraged by his new mentor Jon Bowen he soon resumed his painting.

Price’s work is concerned with light and atmosphere and falls within the traditions of artists such as Turner and Walter Sickert. While some of his work is done in the studio, Price is predominantly an ‘en plein air’ painter and most of his work is therefore painted immediately in front of his subject. The challenge of this type of work is in being able to rapidly analyze colour and tone at the same time as capturing the constantly moving drama of the environment. More Richard Price

Serge Mendjisky, B. 1929

VENISE, LE GRAND CANAL, c. 1989

Oil on canvas

73 by 100.2cm., 28 3/4 by 39 1/2 in.

Private Collection

The Grand Canal is a canal in Venice, Italy. It forms one of the major water-traffic corridors in the city. Public transport is provided by water buses and private water taxis Many tourists explore the canal by gondola.

One end of the canal leads into the lagoon near the Santa Lucia railway station and the other end leads into Saint Mark Basin; in between, it makes a large reverse-S shape through the central districts (sestieri) of Venice. More Grand Canal

Serge Mendjisky was born in 1929 in Paris. After completing his studies at the Beaux Arts in Paris, he soon became a recognized artist and exhibited in Europe, Japan and the United States. He uses photography to make his preliminary studies in painting.

In 2000, he decided to use photography as the only means of expression. He borrows the collage technique to alter photographic images and articulate its multidimensional worldview. The multiple perspectives, expressed in his collages evoke clearly the analytical phase of Cubism. After many years of technical exploration, he found a way to question not only the appearance of the world, but also our perceptual behavior.

By decomposing and recomposing the backgrounds of some of the most famous cities of the world like New York and Paris, Serge Mendjisky creates new urban landscapes which question our perceptive faculties. More Serge Mendjisky

Edward William Cooke

The Canale della Giudecca with Redentore beyond, c. 1863

Oil on paper laid on canvas

11 x 17 11/16 in

Private Collection

The Giudecca Canal is a body of water that flows into the San Marco basin in Venice, Italy. It is one of the major canals in the city, it bisects the sestieri of Dorsoduro, separating Giudecca island and district from Dorsoduro district. More Giudecca Canal

Edward William Cooke, R.A., F.R.S., F.Z.S., F.S.A., F.G.S. (27 March 1811 – 4 January 1880) was an English landscape and marine painter, and gardener. Cooke was born in Pentonville, London. He was raised in the company of artists. He was a precocious draughtsman and a skilled engraver from an early age, displayed an equal preference for marine subjects and published his "Shipping and Craft" – a series of accomplished engravings – when he was 18, in 1829. Cooke began painting in oils in 1833, and first exhibited at the Royal Academy and British Institution in 1835, by which time his style was essentially formed.

He went on to travel and paint with great industry at home and abroad, indulging his love of the 17th-century Dutch marine artists with a visit to the Netherlands in 1837. He returned regularly over the next 23 years, studying the effects of the coastal landscape and light, as well as the works of the country's Old Masters, resulting in highly successful paintings. He went on to travel in Scandinavia, Spain, North Africa and, above all, to Venice. In 1858, he was elected into the National Academy of Design as an Honorary Academician. . More Edward William Cooke

ANDREW FISHER BUNNER (American, 1841-1897)

Venetian canal scene

Oil on canvas

22 x 32 in.

Private Collection

ANDREW FISHER BUNNER (1841 - 1897). Born in New York in 1841.  From 1865 through 1868 he lived in New York and exhibited a number of works at the national Academy of Design.  These works included A Summer Afternoon in Pike County, PA. (1865) and The Potomac River below Harper’s Ferry (1868).  He spent the year of 1869 in New Jersey and then moved to Louisville, KY. in 1870.  He exhibited Study from Nature in West Virginia at the National Academy that same year.

During the 1870’s he traveled to Europe to study and spent time in Paris and Venice.  He concentrated on landscapes, often views by the riverside with a great deal of interest and detail.  In 1879 he returned to New York and was living at 33 East 17th Street.  Among the works he exhibited at the National Academy that year were The Riva, Venice and A Fisherman’s Cottage in the Tyrol.  He remained in New York till 1883 when he returned to Venice.  He lived there till 1885 and sent works each year to the National Academy for exhibition.

Bunner returned to New York in 1887 and remained there till his death in 1897.  In 1900 his wife donated a group of works that Bunner produced during his trips to Venice to the Metropolitan Museum of Art in New York City. More

Charles Oppenheimer RSA RSW (British, 1875-1961)

Ponte Di Cannaregio, Venice 

Oil on panel

34.5 x 45 cm. (13 3/16 x 17 1/8

Private Collection

The Ponte delle Guglie is one of two bridges in Venice, Italy, to span the Cannaregio Canal. It lies near the western end of the canal, by the Venezia Santa Lucia railway station.

An earlier wooden bridge was built in 1285. It was replaced by the current stone and brick bridge in 1580. It was restored in 1641 and 1677, and was totally rebuilt in 1823 at which time spires were added. The spires lie at each end of the bridge. A carved balustrade runs on either side of the walkway, and gargoyles decorate its arch. It is the only bridge in Venice adorned with spires from whence it takes its name ("Bridge of Spires"). More The Ponte delle Guglie 

Charles Oppenheimer RSA RSW, 1875 - 1961. Few Scottish artists are so closely associated with a town or location as Charles Oppenheimer is with Kirkcudbright. He was however not a native Scot having been born in Manchester and only settling in the town when in his mid thirties. Other artists of the Kirkcudbright School, Hornel, MacGeorge and Mouncey found their subject matter in the surrounding Galloway landscape and paid little attention to the beautiful old town where they lived. Oppenheimer as a keen fisherman also spent many hours on the local rivers and lochs, but he produced his best and most memorable work painting in Kirkcudbright itself.More Charles Oppenheimer 

He was a prize-winning student at Manchester School of Art, and his first picture was exhibited at the Manchester Academy of Fine Arts in 1894. His studies also took him to Italy.

Ken Howard R.A. (British, born 1932)
From San Tomà, Venice 
Oil on canvas
12 x 16 inches
Private Collection

San Tomà is a church which is located in the sestiere of San Polo in Venice, Italy. It stands opposite the Scoletta dei Calegheri. More

Kenneth Howard OBE RA (born 26 December 1932) is an English artist and painter. He was President of the New English Art Club from 1998 to 2003.

Ken Howard was born in London. He studied at the Hornsey College of Art (1949–53) and the Royal College of Art (1955–58). In 1958 he won a British Council Scholarship to Florence. He spent his National Service in the Royal Marines (1953–55). In 1973 and 1978 he was the Official War Artist to Northern Ireland, and 1973–80 worked in various locations, including Hong Kong, Cyprus and Canada with the British Army. In 1983 he was elected an Associate of the Royal Academy (ARA). In 1998 he became President of the New English Art Club, a post he held until 2003. In 1991 he was elected a Royal Academician (RA).

He paints in a "traditional" manner, based on strong observation and a high degree of draughtsmanship combined with tonal precision. The depiction of light is a strong and recurrent element of his work. A notable theme is the nude model in his studio. Another theme is a city scene, such as Venice, with emphasis placed on the reflection of light from puddles after rain. He has said:

Howard was appointed Officer of the Order of the British Empire (OBE) in the 2010 Birthday Honours More

KEN HOWARD RA RWS ROI NEAC (B.1932)

The Ospidale S. Giovanni & Paolo, Venice (2010)

Oil on canvas

45½ x 30½cm (18 x 12in)

Private Collection

The Basilica di San Giovanni e Paolo, known in Venetian as San Zanipolo, is a church in the Castello sestiere of Venice, Italy.

One of the largest churches in the city, it has the status of a minor basilica. After the 15th century the funeral services of all of Venice's doges were held here, and twenty-five doges are buried in the church.

The huge brick edifice was designed in the Italian Gothic style, and completed in the 1430s. It is the principal Dominican church of Venice, and as such was built to hold large congregations. It is dedicated to John and Paul, not the Biblical Apostles of the same names, but two obscure martyrs of the Early Christian church in Rome, whose names were recorded in the 3rd century but whose legend is of a later date.

In 1246, Doge Jacopo Tiepolo donated some swampland to the Dominicans after dreaming of a flock of white doves flying over it. The first church was demolished in 1333, when the current church was begun. It was not completed until 1430. More

KEN HOWARD RA RWS ROI NEAC (B.1932), see above

Martín Rico y Ortega, 1833-1908

CANAL, VENICE

Oil on panel

8 5/8  by 6 1/4  in.; 22.1 by 15.9 cm

Private Collection

Martín Rico y Ortega (12 November 1833, El Escorial – 13 April 1908, Venice, Italy) was a Spanish painter of landscapes and cityscapes. Rico was one of the most important artists of the second half of the nineteenth century in his native country, and enjoyed wide international recognition.

Rico was born in Madrid and received his earliest formal training at the city’s Real Academia de Bellas Artes de San Fernando, where he studied under Jenaro Pérez Villaamil, the Academy’s first professor of landscape painting. Under the tutelage of Pérez Villaamil, Rico’s earliest works show him influenced by Romanticism, the style for which his teacher was known. In 1860, having been awarded a government-sponsored scholarship, Rico moved to Paris to continue his studies.

His landscapes from this decade depict the French and Swiss countryside in a fully accomplished Realist style. Toward the end of 1870, due to political and social unrest caused by the outbreak of the Franco-Prussian War, Rico decided to leave France and return to his native Spain.

At the invitation of his good friend and colleague Marià Fortuny, Rico moved to the southern city of Granada, joining Fortuny and his wife Cecilia, as well as the painter Ricardo de Madrazo. The three artists worked closely during this period, with the styles of Rico and Fortuny overlapping so much that their watercolors—a specialty for both artists—were often confused for one another. It was during this time that, through Fortuny’s influence, Rico’s paintings began to reveal a newfound sense of luminosity and color. His time in Andalucía was, according to his memoirs, one of his happiest, and also one of his most artistically productive periods. More Ortega

Franz Richard Unterberger (Austrian, 1838-1902)

Canale San Barnaba, Venise 

Oil on canvas

92 x 71cm (36 1/4 x 27 15/16in)

Private Collection

The church of San Barnaba is a small Neoclassic-style church in district of Dorsoduro in Venice, It is located in Campo San Barnaba. It is dedicated to the Apostle Saint Barnabas.

A church at the site was built in the ninth century, but destroyed by fire in 1105. Rebuilt in 1350, it was reconstructed in present form in 1776. The 11th-century campanile, detached from the main body of the church, has a pine-cone shaped spire from the 1300s.


The church was used as a library in the 1989 film Indiana Jones and the Last Crusade, acting as the entrance to the tomb of a Grail Knight. More San Barnaba Church

The canal is in a quiet area of Venice. On the banks of the canal are many architecturally beautiful and colorful houses. San Barnaba is a quiet place to monitor the gondolas that pass through the canal.

Barnabas, born Joseph and Akylah, was an early Christian, one of the prominent Christian disciples in Jerusalem. Barnabas was a Cypriot Jew. Named an apostle in Acts 14:14, he and Paul the Apostle undertook missionary journeys together and defended Gentile converts against the Judaizers. They traveled together making more converts, and participated in the Council of Jerusalem


Although the date, place, and circumstances of his death are historically unverifiable, Christian tradition holds that Barnabas was martyred at Salamis, Cyprus, in AD 61. He is traditionally identified as the founder of the Cypriot Orthodox Church. More Barnabas

Franz Richard Unterberger was born on August 15, 1838 in Innsbruck, Australia; Died May 25, 1902; Neuilly-sur-Seine, France. He was one of 11 children of an art dealer. Unterberger started his studies in 1853 at the Munich Academy, alongside Julius Lange and Albert Zimmerman. In 1860, Franz continued his studies at Düsseldorf, which was the favored academy for Scandinavian painters studying abroad. Here he produced several atmospheric mountainous scenes. By the 1870’s Unterberger was already exhibiting in major cities across Europe including: Paris, Boston, Munich, Brussels, Berlin and Vienna among others.

In the mid 1880’s, Franz exhibited in Venezuela and in London at the International Universal Exhibition. In the 1890’s, most of his paintings revolved around Venetian and South Italian scenes. More Franz Richard Unterberger

Benjamin Brown, 1865 - 1942

Venice

 Watercolor on paper under glass

13.25 x 10.5 in

Private Collection

Benjamin Chambers Brown (July 14, 1865 – January 19, 1942) was a California Impressionist landscape artist. He was one of their five children. He grew up in Little Rock, Arkansas. Brown was trained as a photographer. He studied at the University of Tennessee, and later at the St. Louis School of Fine Arts under Paul Harney and John Fry in 1884. He studied in Paris at the Académie Julian under Jean-Paul Laurens and Jean-Joseph Benjamin-Constant in 1890.

During his early career, Brown traveled and worked in St. Louis, Little Rock and Texas. In St. Louis, Brown taught at the St. Louis Art School. He went on to open his own school in Little Rock. He initially specialized in portraiture and still life. Upon moving to Pasadena in 1896, he began to paint landscapes. By 1905 he had become famous for his paintings. From 1909 to 1910, Brown had a studio in Mill Valley, California.

His first etchings were done in 1914. He co-founded the Print Makers of Los Angeles with his brother Howell in 1914, which later became the Los Angeles Society of Printmakers. His notable works include his impressionist landscapes of Sierra peaks and field poppies. 

Brown tried to sell his artwork in New York City; however, it did not sell as well as it had in California. Instead of opening a studio in the city, he began to sign California under his own signature to show how proud he was to be a Californian, in spite of potential stigmas. More Benjamin Chambers Brown

'HENRY P. SMITH', 1854 - 1907

Villa on a Venetian Canal

Oil on panel

24 by 20 inches (61 by 50.8 cm)

Private Collection

Henry Pember Smith (February 20, 1854 – October 16, 1907) was an American painter, best known for his depictions of country cottages and river scenes around Lyme and East Lyme, Connecticut, and paintings of the sea and shore in New Jersey, Rhode Island, and Cape Ann to Maine.

Smith was born in Waterford, Connecticut. During the 1880s, he studied the Old Masters in Paris, Brittany, Normandy, Venice and along the English Cornish coast. He was a member of the Artists' Fund Society and the American Water Color Society, and exhibited at the National Academy of Design from 1877-1896, 1899, 1901, 1906; the Brooklyn Art Club (1878-1885, 1892); Boston Art Club (1880-1890); Pennsylvania Academy of Fine Art (1881, 1888); and the Art Institute of Chicago. Smith died of heart disease in Asbury, New Jersey. More

Ken Howard R.A. (British, born 1932)

Venice scene 

Oil on canvas

15 x 60.5cm (5 7/8 x 23 13/16in).

Private Collection

Ken Howard R.A. (British, born 1932) studied at Hornsey School of Art from 1949 to 1953. He then did his National Service with the Royal Marines before returning to study at the Royal College of Art from 1955 to 1958. He went on to win a British Council Scholarship to Florence from 1958 to 1959.

Howard’s first solo show was held at the Plymouth Art Centre in 1955. Subsequent exhibitions were held in 1966 and 1968 at the John Whibley Gallery. From then on he exhibited extensively, both nationally and internationally, particularly with the New Grafton Gallery from the early 1970s. He was given a retrospective in 1972 at the Plymouth City Art Gallery and in 1973 and 1979 was appointed by the Imperial War Museum as official artist in Northern Ireland. He also worked with the British Army in Germany, Cyprus, Oman, Hong Kong, Nepal, Norway, Canada, Belize and Brunei from 1973 to 1982.

Howard was elected a member of the New English Art Club in 1962, the Royal Institute of Oil Painters in 1966, the Royal Society of Painters in Watercolours in 1979, the Royal West of England Academy 1981, Honorary Member of the Royal Society of British Artists in 1988, Royal Academician in 1991 and President of the New English Art Club in 1998. Among his numerous awards are First Prize in the Lord Mayor’s Art Award in 1966, a Prize Winner in the John Moores Exhibition, Liverpool in 1978, first prize in the Hunting Group Awards and the Critics Prize at Sparkasse Karlsruhe in 1985. Ken Howard lives and works in London. More

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