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After John Frederick Lewis
Alma Lamenting the Destruction of her city
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John Frederick Lewis RA (London 14 July 1804 – 15 August 1876) was an Orientalist English painter. He specialized in Oriental and Mediterranean scenes in exquisitely detailed watercolour or oils. Lewis lived for several years in a traditional mansion in Cairo, and (after his return to England) painted highly detailed works showing both realistic genre scenes of Middle Eastern life and more idealized scenes in upper class Egyptian interiors with no traces of Western cultural influence yet apparent.
His very careful and loving representation of Islamic architecture, furnishings, screens, and costumes set new standards of realism, which influenced other artists, including the leading French Orientalist painter Jean-Léon Gérôme in his later works. Unlike many other Orientalist painters who took a salacious interest in the women of the Middle East, he "never painted a nude", and his wife modelled for several of his harem scenes. More on John Frederick Lewis
Alma Lamenting the Destruction of her home
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Alma Lamenting the Destruction of Gaza is a painting In the style of Rembrandt, the renowned Dutch artist who in 1630 painted the destruction of Jerusalem.
After Rembrandt Harmenszoon van Rijn
Alma Lamenting the Destruction of Gaza
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Rembrandt's interpretation of the scene showcases his mastery of light and shadow. The diagonal composition directs the viewer's attention to Alma, the central figure. She is shown wearing robes, her face expressing deep sorrow as she bows her head as she sits amongst the ruin of her home.
After Rembrandt Harmenszoon van Rijn
Alma Lamenting the Destruction of Gaza
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deviantart
After Rembrandt Harmenszoon van Rijn
The destruction of Gaza
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deviantart
Alma Lamenting the Destruction of Gaza stands out as religious paintings, showcasing Rembrandt's ability to convey human emotions and spirituality through his art.
Alma was by far the most distinguished of women because of her many superior qualities, especially because of the bravery she demonstrated in defense of her people.
Islam elevated the status of women, treating them on an equal footing with a man. Women had a newfound independent identity, in the physical and spiritual spheres.
Islamic history is full of warrior women who fiercely fought for what they believed in, defended what they cherished, and defied all expectations and became legends.
The Warrior Woman is an ancient archetype that is not well known because the stories have been both forgotten and suppressed. Mythology is full of warrior goddesses.
Traditionally, the Bedouin were among the most dangerous of desert tribes, fighting among themselves when outsiders weren’t available. Constantly on the move to find new pastures for their livestock, they learned to live with the minimum of possessions and little external support in the harshest of lands. Loyalty to tribe and family was all that helped a warrior survive. More on Desert Warriors
Rembrandt Harmenszoon van Rijn (15 July 1606 – 4 October 1669) was a Dutch painter and etcher. He is generally considered one of the greatest painters and printmakers in European art and the most important in Dutch history. His contributions to art came in a period of great wealth and cultural achievement that historians call the Dutch Golden Age when Dutch Golden Age painting, although in many ways antithetical to the Baroque style that dominated Europe, was extremely prolific and innovative, and gave rise to important new genres in painting.
Having achieved youthful success as a portrait painter, Rembrandt's later years were marked by personal tragedy and financial hardships. Yet his etchings and paintings were popular throughout his lifetime, his reputation as an artist remained high, and for twenty years he taught many important Dutch painters. Rembrandt's greatest creative triumphs are exemplified most notably in his portraits of his contemporaries, self-portraits and illustrations of scenes from the Bible. His self-portraits form a unique and intimate biography, in which the artist surveyed himself without vanity and with the utmost sincerity.
In his paintings and prints he exhibited knowledge of classical iconography, which he molded to fit the requirements of his own experience; thus, the depiction of a biblical scene was informed by Rembrandt's knowledge of the specific text, his assimilation of classical composition, and his observations of Amsterdam's Jewish population. Because of his empathy for the human condition, he has been called "one of the great prophets of civilization." More on Rembrandt Harmenszoon van Rijn
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