01 Paintings, The amorous game, Part 21 - With Footnotes

Mario Tozzi (1895 - 1979)

La Margherita, c. 1950

Oil on canvas

174x68 cm

Private collection

Mario Tozzi (30 October 1895 – 8 September 1979) was an Italian painter. He was awarded the Legion of Honour by the French government. Tozzi studied at the Accademia di Belle Arti di Bologna in Italy where he met Giorgio Morandi and Osvaldo Licini. He graduated in 1916.

After the First World War, he moved to Paris, France and founded the Groupe des Sept (also known as Les Italiens de Paris ) with Massimo Campigli, Giorgio de Chirico, Filippo de Pisis, Renato Paresce, Alberto Savinio and Gino Severini.

Tozzi returned to Rome in 1936. His work was exhibited at the Venice Biennale in 1938, 1942, 1948, 1952 and 1954.

He returned to France in 1971, dying there in 1979.

A catalogue raisonné of his paintings was published In 1988 by Giorgio Mondadori Editore and edited by Marilena Pasquali. More on Mario Tozzi

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01 Painting, Streets of Paris, by the artists of the time, Part 34 - With Footnotes

Léon Lemaître, 1850 - 1905, FRENCH

LES HALLES, PARIS

Oil on panel

15.5 by 27cm., 6 by 10¾in.

Private collection

Les Halles was the traditional central market of Paris. In 1183, King Philippe II Auguste enlarged the marketplace in Paris and built a shelter for the merchants, who came from all over to sell their wares. The church of Saint-Eustache was constructed in the 16th century. The circular Halle aux Blés (Corn Exchange), designed by Nicolas Le Camus de Mézières, was built between 1763 and 1769 at the west end of Les Halles. Its circular central court was later covered with a dome, and it was converted into the Bourse de Commerce in 1889. In the 1850s, Victor Baltard designed the famous glass and iron buildings, Les Halles, which would last until the 1970s. Les Halles was known as the "Belly of Paris", as it was called by Émile Zola in his novel Le Ventre de Paris, which is set in the busy marketplace of the 19th century. More on Les Halles

Léon Lemaître, 1850 - 1905, was part of the first generation of painters of the "School of Rouen" who adhered to the esthetic pleinairiste. A student at the Beaux-Arts in Paris between 1873 and 1879, he witnessed the first impressionist exhibition in 1874 and, in Rouen, he became the propagandist of the movement that upset the official art. From his meeting with Charles Angrand, Charles Fréchon and Joseph Delattre is born a group that raises general indignation:  " Like the three Musketeers, the Rouen Impressionists are four; and like the three Musketeers still, they are young, ardent, loving the fight and could not be careful for one moment to give in to the "desire to impress the bourgeois" " (Eugène Brieux).

Lemaitre played the role of an initiator with the small group, persuading them to open all the windows on which they look at nature. From 1890, faced with considerable contempt, Lemaître abandoned the exacting technique of divisionism inherited from Seurat and turned to the realizing views of Rouen. He represented the old monuments, often in gray or rainy weather, enveloped in the mist. More on Léon Lemaître.

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01 Paintings by the Orientalist Artists in the Nineteenth-Century, with footnotes, 13

Sir William Russell Flint, R.A., P.R.W.S., 1880-1969

JASMIN

Watercolour and tempera on paper laid down on panel

33 by 61cm., 13 by 24in.

Sir William Russell Flint (4 April 1880 – 30 December 1969) was a Scottish artist and illustrator who was known especially for his watercolour paintings of women. He also worked in oils, tempera, and printmaking. He was born in Edinburgh then educated at Daniel Stewart's College and Edinburgh Institution. From 1894 to 1900 Flint apprenticed as a lithographic draughtsman while taking classes at the Royal Institute of Art, Edinburgh. From 1900 to 1902 he worked as a medical illustrator in London while studying part-time at Heatherley's Art School. He furthered his art education by studying independently at the British Museum. 

Flint was elected president of Britain’s Royal Society of Painters in Watercolours (now the Royal Watercolour Society) in 1936 to 1956, and knighted in 1947. More on Sir William Russell Flint

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01 Paintings, The amorous game, Part 21 - With Footnotes

Studio of Frans van Mieris the Elder

The Serenade

Oil on panel

15 x 11 cm.

Private collection

Frans van Mieris the Elder, 1635 - 1681, belonged to an illustrious family of goldsmiths and painters. After an apprenticeship with his cousin, Van Mieris studied painting with Gerrit Dou, the first and most famous member of the fijnschilders (fine painters) in his native Leiden. Dou called him the "Prince of my Pupils." 


In the style of the fijnschilders--minutely proportioned subjects with bright colors, a shiny finish, and precise attention to detail--Van Mieris painted on wood or copper panels rarely larger than fifteen square inches. He represented common incidents in the lives of the working class as well as the habits and customs of the wealthy. His paintings were highly acclaimed in his lifetime and earned Van Mieris a great deal of money. Unfortunately, he wasted his fortune through alcoholism and poor management of his finances. Although contemporaries recognized Van Mieris as one of the leading Dutch artists of the 1600s, his paintings fell into relative obscurity in the 1700s. More on Frans van Mieris the Elder

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01 Paintings by the Orientalist Artists in the Nineteenth-Century, with footnotes, 36

Raphael von Ambros, 1845-1895, AUSTRIAN

THE BAKER'S SHOP, CAIRO, c. 1889

Oil on panel

38.5 by 47cm., 15¼ by 18½in.

Private collection

Von Ambros established his reputation as a masterful observer of scenes of everyday life in Cairo, painted with the greatest attention to verisimilitude and detail.  

Here,  a woman wearing a black niqāb and a lapis lazuli necklace serves refreshments of freshly baked Egyptian flat bread known as aish baladi and bowls of milk or water bread to passers-by. Opening on to the street, her stall offers other local produce, including eggs and vegetables.


Von Ambros settled in Paris where he found a ready market for his Egyptian subjects. Inspired by his first hand observations during his travels, he was aided by sketches and no doubt by photography. More on this painting

Born in Prague, Raphael von Ambros was a pupil of Hans Makart (1840-1884) at the famous Vienna Academy, where he would have studied alongside an extraordinary generation of Orientalist painters such as Jean Discart (French, 1856-1944), Ludwig Deutsch (1855-1935) and Rudolf Ernst (1854-1932). Like his contemporaries, Ambros found the perfect audience for his Cairo street scenes at the Paris Salon, where he exhibited from 1887. More on Raphael von Ambros

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01 Painting, Streets of Paris, by the artists of the time, Part 33 - With Footnotes

Eugene Galien-Laloue, French, 1854-1941 

Le Marche aux Puces/ Flea market

Gouache on thin board 

13 x 16 1/8 inches (33 x 41 cm)

Private collection

Fleas are parasitic insects that have always been assumed, rightly or wrongly, to infest the old clothes full of vermin sold by the scavengers , "fleas included". The expression "flea market" became quickly popular and appeared in 1900 on the legends of postcards representing views of the Porte de Clignancourt or Avenue Michelet 1 . More on flee markets in Paris

Eugène Galien-Laloue (1854–1941) was a French artist of French-Italian parents and was born in Paris on December 11, 1854. He was a populariser of street scenes, usually painted in autumn or winter. His paintings of the early 1900s accurately represent the era in which he lived: a happy, bustling Paris, la Belle Époque, with horse-drawn carriages, trolley cars and its first omnibuses. Galien-Laloue's works are valued not only for their contribution to 20th-century art, but for the actual history, which they document. His work can be seen at the Musée des Beaux-Arts, Louvier; Musée des Beaux-Arts, La Rochelle; Mulhouse, France.

A typical Galien-Laloue painting depicts sidewalks and avenues crowded with people or tourists mingling before the capital's monuments. He also painted the landscapes of Normandy and Seine-et-Marne, as well as military scenes he was commissioned to produce in 1914. The Republic of France selected Galien-Laloue to work as a 'war artist,' both during the Franco-Prussian War and World War I, chiefly in watercolor. More on Eugène Galien-Laloue

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01 Paintings by the Orientalist Artists in the Nineteenth-Century, with footnotes, 37

Paul Joanowits, 1859 - 1957, SERBIAN

BASHI-BAZOUKS BEFORE A GATEWAY,  circa 1887-88

Oil on panel

46 by 35cm., 18 by 14¾in.

Private collection

Bashi-bazouks were irregulars in the Ottoman army and hailed from lands across the Ottoman empire, from Egypt to the Balkans. The strain on the Ottoman feudal system caused by the Empire's wide expanse required heavier reliance on irregular soldiers. They were armed and maintained by the government, but did not receive pay and did not wear uniforms or distinctive badges. Because not formally trained, they could not serve in major military operations, but were useful for other tasks such as reconnaissance and outpost duty.

The two soldiers, in all their regalia, converse in an Egyptian setting, the gate topped by Mamluk carvings and flanked by East African 'Grandees' chairs', amalgams of Mamluk, Portuguese, and Indian influence. Both men are armed with Ottoman flintlock rifles from Algeria, and the standing guard smokes an Ottoman chibouk pipe with a tophane bowl. On the left, a seventeenth-century Ottoman Tulip-period Tombak ewer rests on the arm of one of the chairs. More on Bashi-bazouks

Paul Joanowits, 1859 - 1957, was born in Vršac, formerly southern Hungary and today Serbia. He studied at the Vienna Academy from 1876 to 1883 under K. L.Müller. From there he sent his first painting to the art society in Budapest, earning him a Hungarian state scholarship. Like his teacher, he painted oriental images, in Vienna and later in Munich. During the late 19th century he painted scenes of the Serbian uprising for King Alexander of Serbia. Back in Vienna, his main interest lay in painting portraits, amongst which is a picture of Emperor Francis Joseph I. Joanovitch exhibited in Vienna, Munich and Berlin and today his works can be found in museums in Belgrade, Budapest, London, Munich and Vienna. More on Paul Joanowits

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04 Paintings, MODERN & CONTEMPORARY MIDDLE EASTERN ART, Manal Deeb art, With Footnotes # 8

Manal Deeb

Cordoba

Acrylic painting on canvas

24" X 30"

Private collection

Manal Deeb

Thoughtful

Acrylic painting on canvas

24" X 30"

Private collection

Manal Deeb

Spirit

Acrylic painting on canvas

18" X 24"

Private collection

Manal Deeb

Ancestors

16" x 24"

Private collection

Manal Deeb is a Palestinian-American artist who was born in Ramallah, Palestine, and currently resides in the Washington DC area, USA. 

Manal studied Studio Arts at the University of Illinois in Chicago, and got her Bachelor Degree in Interdisciplinary Studies with concentration in Psychology of Art from George Mason University in Virginia.  She is a resident artist at the Workhouse Arts Center in Lorton, VA USA.

Manal has had solo and group exhibits in cities across the United States. Her work has also been exhibited internationally in Paris, Rome, and Cairo; London and Brighton, England; Delhi, India; Doha, Qatar; Amman, Jordan; Islamabad, Pakistan; and Malaga, Spain.

Her mission and main subjects are: humanity, Palestine, the Palestinian people, global cultures, creating bridges between religions, Arab women, and identity. More on Manal Deeb

Manal Deebs artwork is available for sale at Ygalleri

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01 Painting by the Orientalist Artists of the Nineteenth-Century, with footnotes, 35

Edmund Aubrey Hunt, 1855 - 1922, AMERICAN

ARAB FANTASIA

Oil on canvas laid on panel 

37.5 by 54.5cm., 14¾ by 21½in.

Private collection

Fantasia is a traditional exhibition of horsemanship in the Maghreb performed during cultural festivals and to close Maghrebi wedding celebrations. "Fantasia" is an imported name, the actual traditional term used is lab el baroud.

The performance consists of a group of horse riders, all wearing traditional clothes, who charge along a straight path at the same speed so as to form a line, and then at the end of the charge (about two hundred meters) fire into the sky using old muskets or muzzle-loading rifles The difficulty of the performance is in synchronizing the movement of the horses during acceleration of the charge, and especially in firing the guns simultaneously so that one single shot is heard. The horse is referred to as a fantasia horse and are of Arabian, Andalusian or Barb stock. More on Fantasia 

Edmund Aubrey Hunt, 1855-1922, was an active exhibitor. He was elected a member of the Society of British Artists in 1884, a society of which JW was President between 1886 and 1888.

JW greatly admired Hunt's work. In 1881 he wrote to Charles Deschamps: 'Now about Aubrey Hunt - I want Sir Coutts very much to see his picture - I am sure that it will be charming and really most important in the Grosvenor - His work is most brilliant and full of delightful quality - far more artistically rare than all the Ellis and Easts and Wyllies... put together'. Hunt was amongst those invited to a dinner organised by W. C. Symons to congratulate JW on becoming an Honorary Member of the Royal Academy of Munich, a dinner which was to be held at the Criterion in Piccadilly on 1 May 1889. More on Edmund Aubrey Hunt

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01 Painting by the Orientalist Artists of the Nineteenth-Century, with footnotes, 34

Henri Rousseau, 1875-1933, FRENCH

THE GAZELLE HUNT

Oil on canvas

54.5 by 73cm., 21 by 28in.

Private collection

Henri Rousseau Henry, Emilien Rousseau (Cairo 1875 - Aix-en-Provence in 1933) was an Orientalist painter. A pupil of Jean-Léon Gérôme at the Beaux Arts in Paris, he won the second Grand Prix de Rome in 1900 and a travel grant at the Salon of French Artists. He traveled to Belgium, the Netherlands, North Africa, Spain and Italy where he admired the great masters (Rubens, Rembrandt, Velasquez, Murillo, the Titian, Raphael etc ...)

After this initiatory journey, he settled in Versailles and set up his studio at the Villa des Arts in Paris. In 1919 he moved to Aix in Provence with his large family (seven children). Knight of the Legion of Honour in arts. His work  is dedicated to Tunisia, Algeria and especially Morocco, Provence and the Camargue remained its anchor points. His success was with a bourgeois and wealthy clientele, where he sold his work at numerous exhibitions in Paris, Brussels, Stockholm, Marseilles. More Henri Rousseau

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01 Paintings by the Orientalist Artists in the Nineteenth-Century, with footnotes, 33

Alberto Pasini, 1826 - 1899, ITALIAN

MARKET IN CONSTANTINOPLE

Oil on canvas

38.5 by 46cm., 15¼ by 18¼in.

Private collection

It is common to think that the western terminus of the Silk Road was Rome in Italy. However, whilst Rome was indeed an important destination for Chinese silk during the first two or three centuries of the Silk Road (perhaps until 200 AD), from the 4th century onwards, the “Rome” to which all roads led in the Mediterranean world was “Eastern Rome” or Constantinople. Even in its long centuries of decline down to its conquest by the Ottoman Turks in 1453, the wealth of Constantinople was legendary, and its location ensured it a very important role in the trade with the East. Renamed Istanbul under the Turks, the city again became the capital of a great empire and played a central role in east-west cultural and economic exchange. More on the MARKET IN CONSTANTINOPLE

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.

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 

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01 Painting, Streets of Paris, by the artists of the time, Part 33 - With Footnotes

Ernst Josephson, 1851 - 1906, SWEDISH

14 JUILLET, c. 1883

Oil on canvas

90 by 119cm., 35½ by 47in.

Private collection

Bastille Day is the common name given in English-speaking countries/lands to the French National Day, which is celebrated on the 14th of July each year. In France, it is formally called la Fête nationale and commonly and legally le 14 Juillet.


The French National Day commemorates the first anniversary of Storming of the Bastille on 14 July 1789, a turning point of the French Revolution, as well as the Fête de la Fédération which celebrated the unity of the French people on 14 July 1790. Celebrations are held throughout France. The oldest and largest regular military parade in Europe is held on the morning of 14 July, on the Champs-Élysées in Paris in front of the President of the Republic, along with other French officials and foreign guests. More on Bastille Day

Ernst Josephson (16 April 1851, Stockholm, Sweden – 22 November 1906) was a Swedish painter whose main work was done on portraits and paintings of folk life.

He did his art studies in Italy, France and the Netherlands, among others, and is reputed to have said at the age of 20: "I will become Sweden's Rembrandt or die."

However, his life was marred by illness. He contracted syphilis at a relatively young age, and in 1888 he became mentally ill during a visit to Brittany, having religious hallucinations and believing that he was God and Christ.

He was later taken to hospital in Uppsala and diagnosed with schizophrenia, but continued working throughout his disease, often while in a trance-like state.

He also wrote poetry, in the collections Svarta rosor (1888, Black Roses) and Gula rosor (1896, Yellow Roses). His main work, Näcken (1884, the Nix), was refused by the Swedish National Museum in Stockholm – however, Prince Eugén, Duke of Närke, bought the painting in fury over the decision.

Josephson's painting "Strömkarlen" shows the strong influence he has had on the current crop of Scandinavian figurative painters, most notably the Norwegian Odd Nerdrum. More on Ernst Josephson

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01 Paintings by the Orientalist Artists in the Nineteenth-Century, with footnotes, 32

Victor Huguet, 1835 - 1902, FRENCH

Riders in a Ravine 

Oil on canvas

118 by 100cm., 46½ by 39¼in.

Private collection

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

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01 Paintings by the Orientalist Artists in the Nineteenth-Century, with footnotes, 30

Gyula Tornai (Hungarian, 1861-1928)

The new necklace 

Oil on canvas

53 3/4 x 83 3/4in (136.5 x 213cm)

Private collection

It is typically characteristic of Tornai to depict a crowded, richly furnished interior. The sensually stretched out woman, and several types of human characters are also typical of a Tornai composition. More on this painting

Harem a sacred inviolable place; for female members of the family. Harem properly refers to domestic spaces that are reserved for the women of the house in a Muslim family and are inaccessible to adult males except for close relations. Similar institutions have been common in other Mediterranean and Middle Eastern civilizations, especially among royal and upper-class families and the term is sometimes used in non-Islamic contexts. The structure of the harem and the extent of monogamy or polygamy has varied depending on the family's personalities, socio-economic status, and local customs. A harem may house a man's wife—or wives and concubines, as in royal harems of the past.

In the West, Orientalist imaginary conceptions of the harem as a fantasy world of forbidden sexuality where numerous women lounged in suggestive poses have influenced many paintings, stage productions, films and literary works. Several European Renaissance paintings dating to the 16th century defy Orientalist tropes and portray the women of the Ottoman harem as individuals of status and political significance. In many periods of Islamic history women in the harem exercised various degrees of political power. More on the Harem

Gyula Tornai (1861 in Görgő – 1928 in Budapest) was a Hungarian painter, now featured in the Hungarian National Gallery.

Gyula Tornai was a great Hungarian orientalist painter. Tornai studied painting at three different academies: Vienna, Munich, and Budapest. He then traveled to India, China, and Japan before settling in Morocco. He stayed in Tangier between 1890-1891. He participated in the Exposition Universelle in Paris in 1900, where he received a bronze medal. He died in Budapest in 1928. More on Gyula Tornai

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