02 Paintings by the Orientalist Artists in the Nineteenth-Century, Theodoros Rallis' The Captive and The Booty, with footnotes, #32

Theodoros Rallis (1852-1909)

The Captive (Turkish Plunder), 1885

Oil on canvas

60 by 81.5cm., 23½ by 32in.

Private collection

Rallis painted this less than ten years after a Bulgarian uprising against the Turkish Ottoman Empire. The Turks' bashi-bazouk irregular soldiers were accused of many massacres and other atrocities, including seizing Bulgarian girls to be sold into harems. In this painting a young woman stands with her hands bound next to a pile of stolen valuables in a ruined Orthodox Christian church. Rallis painted a similar painting, Booty, about twenty years later (below).

Theodoros Rallis (1852-1909)

The Booty, circa 1905

Oil on canvas

Height: 133 cm (52.3 in); Width: 100 cm (39.3 in)

National Gallery - Alexandros Soutsos Museum, Greece

Théodore Jacques Ralli or Theodorus Rallis (Constantinople, 16 February 1852 – 2 October 1909, Lausanne) was a Greek painter, watercolourist and draughtsman, who spent most of his working life in France and Egypt.

He painted genre works, portraits, local figures, architectural subjects, interiors with figures and animals. But he is best known for his orientalist paintings.

He was sent to Paris under the patronage of King Otto of Greece and studied under Jean-Léon Gérôme, and under Jean-Jules-Antoine Lecomte du Nouy, both known for their orientalist paintings.

Ralli then travelled widely in North Africa and the Middle East, settling for a while in Cairo, Egypt. Here he found his inspiration for the romantic mysticism and suggestive sensuality of his many orientalistic paintings. His paintings were elaborated with great attention to detail, with great attention to costumes and facial expressions. 

Rallis first exhibition was at the Salon in 1875. From 1879 he regularly exhibited at the Royal Academy in London. He was a member of the Société des Artistes Français, where he received an honourable mention in 1885, and a silver medal in 1889 for his whole work He exhibited his paintings in the Salon de Rouen (1897, 1903, 1906 and 1909) and also in Athens during the Olympic Games of 1896. He also served as a member of the competition jury in 1900 at the Exposition Universelle.In 1901 he became a Chevalier of the Légion d’Honneur. More on Theodoros Rallis

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01 Painting by the Orientalist Artists in the Nineteenth-Century, with footnotes, 39

Frederick Arthur Bridgman, 1847 - 1928, AMERICAN

DETAIL, ARAB WOMEN ON A ROOFTOP, ALGIERS BEYOND

Oil on canvas

17 7/8 by 30 3/4 in., 45.4 by 78.1 cm

Private collection

"This is a theme that Bridgman became fascinated with in the mid-1880s, exploring the light effects of the sun on the rooftops of Algiers buildings for many years thereafter." Ilene Susan Fort, Curator, American Art, Los Angeles County Museum of Art

Frederick Arthur Bridgman, 1847 - 1928, AMERICAN

ARAB WOMEN ON A ROOFTOP, ALGIERS BEYOND

Oil on canvas

17 7/8 by 30 3/4 in., 45.4 by 78.1 cm

Private collection

Sold for GBP 9,430 in Nov 1994

Sold for 62,500 USD in May 2018

Frederick Arthur Bridgman (November 10, 1847 - 1928) was an American artist, born in Tuskegee, Alabama. The son of a physician, Bridgman would become one of the United States' most well-known and well-regarded painters and become known as one of the world's most talented "Orientalist" painters. He began as a draughtsman in New York City, for the American Bank Note Company in 1864-1865, and studied art in the same years at the Brooklyn Art Association and at the National Academy of Design; but he went to Paris in 1866 and became a pupil of Jean-Leon Gerome. Paris then became his headquarters. A trip to Egypt in 1873-1874 resulted in pictures of the East that attracted immediate attention, and his large and important composition, The Funeral Procession of a Mummy on the Nile, in the Paris Salon (1877), bought by James Gordon Bennett, brought him the Cross of the Legion of Honor. Other paintings by him were An American Circus in Normandy, Procession of the Bull Apis (now in the Corcoran Gallery of Art, Washington, D.C.), and a Rumanian Lady (in the Temple collection, Philadelphia, Pennsylvania). More on Frederick Arthur Bridgman

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints, 365 Days, and Biblical Icons, also visit my Boards on Pinterest

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01 Paintings by the Orientalist Artists in the Nineteenth-Century, with footnotes, 38

Ferdinand Victor Léon Roybet, 1840-1920, FRENCH

DETAIL, THE FAVORITE OF THE HAREM

Oil on panel

20 3/4 by 25 1/2 in., 52.7 by 64.8 cm

Private collection

Ferdinand Victor Léon Roybet, 1840-1920, FRENCH

THE FAVORITE OF THE HAREM

Oil on panel

20 3/4 by 25 1/2 in., 52.7 by 64.8 cm

Private collection

Ferdinand Victor Léon Roybet (12 April 1840, Uzès - 11 April 1920, Paris) was a French painter and engraver; best known for his historical and costume genre scenes. His father was the owner of a café and a liqueur manufacturer who moved his family to Lyon in 1846. He began by studying engraving at the École nationale des beaux-arts de Lyon. After his father's death in 1863, he took his new wife and baby to Paris, where he studied with Jean-Georges Vibert and copied the Old Masters at the Louvre.

In 1865, after some financial hardships, he presented two paintings at the Salon and, the following year, achieved success when one of his works was purchased by Mathilde Bonaparte for 5,000 francs. He then decided to concentrate on costumed figures, mostly from the 18th century, and was awarded a contract for three canvases per month at an annual salary of 25,000 francs.

He was named a knight in the Legion of Honour in 1893 and many wealthy people among his clients; notably Cornelius Vanderbilt, who paid 100,000 francs for one of his works at the Palais de l'Industrie in 1893. He also painted many notable people in period costume.

Toward the end of his life, he turned to religious subjects, producing a tableau of 22 paintings depicting the Passion of Christ. After his death, in 1921, they were the subject of a special showing at the Salon. Six years later, the Musée Roybet Fould was established in Courbevoie by Consuelo Fould, who owned a large number of Roybet's paintings. More on Ferdinand Victor Léon Roybet

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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, 29

Ferencz Eisenhut, 1857 - 1903, HUNGARIAN

IN THE HAREM, c. 1889

Oil on panel

49 by 32.5cm., 19 by 12¾in.
Private collection

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

Franz Eisenhut (25 January 1857 – 2 June 1903) was a prominent Danube Swabian Realist and Orientalist painter. He is considered one of Austria-Hungary's greatest academic painters in the second half of the 19th century. His works can be found in many European museums across the continent.

Franz Eisenhut was born in Nova Palanka, Voivodeship of Serbia and Banat of Temeschwar, Austrian Empire. His father had hoped for Franz to become a merchant, but the Hungarian painter He studied at Hungarian Royal Drawing School in Budapest from 1875 until 1877. Afterwards, he became a student of the Royal Academy of Fine Arts in Munich. He studied there until 1883.

After finishing the Academy, he went on a trip to the Orient for the first time, visiting the Caucasus. The next year, he held his first exhibition in Budapest. The Orient became his main source of inspiration and Orientalist paintings will become his most famous works. His first great success was the 1886 painting "Healing through the Koran in Beirut".

Franz Eisenhut's most famous work is the painting "Battle of Zenta", made in 1896 for the Hungarian Millennium Exhibition, celebrating 1000 years since the Hungarian settlement in the Great Hungarian Plain. More on Franz Eisenhut

Please visit my other blogs: Art Collector, Mythology, Marine Art, and The Canals of Venice

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

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