Showing posts with label Rudolf Ernst. Show all posts
Showing posts with label Rudolf Ernst. Show all posts

10 Orientalist Paintings by Artists from the 19th Century, with footnotes #16

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

Léon François Comerre (10 October 1850 – 20 February 1916)
An Eastern Beauty
oil on canvas
44 x 28 ¾ in. (111.8 x 73 cm.)
Private Collection

Léon François Comerre (10 October 1850 – 20 February 1916) was a French academic painter, famous for his portraits of beautiful women. Comerre was born in Trélon, in the Département du Nord, the son of a schoolteacher. He moved to Lille with his family in 1853. From an early age he showed an interest in art and became a student of Alphonse Colas at the École des Beaux-Arts in Lille, winning a gold medal in 1867. From 1868 a grant from the Département du Nord allowed him to continue his studies in Paris at the famous École nationale supérieure des Beaux-Arts in the studio of Alexandre Cabanel. There he came under the influence of orientalism.

Comerre first exhibited at the Paris Salon in 1871 and went on to win prizes in 1875 and 1881. In 1875 he won the Grand Prix de Rome. This led to a scholarship at the French Academy in Rome from January 1876 to December 1879. In 1885 he won a prize at the "Exposition Universelle" in Antwerp. He also won prestigious art prizes in the USA (1876) and Australia (1881 and 1897). He became a Knight of the Legion of Honour in 1903.

Francisco de Goya,  (1746–1828)
The Second of May 1808 or The Charge of the Mamelukes, c. 1814
Oil on canvas
266 × 345 cm (104.7 × 135.8 in)
Prado Museum

May 02, 1808. Francisco de Goya witnessed first hand the French occupation of Spain in 1808, when Napoleon used the pretext of reinforcing his army in Portugal to seize the Spanish throne, leaving his brother Joseph in power. Attempts to remove members of the Spanish royal family from Madrid provoked a widespread rebellion. This popular uprising occurred between the second and third of May 1808, when suppressed by forces under Maréchal Joachim Murat. In this image: The Second of May 1808, also known as The Charge of the Mamelukes, a painting by the Spanish master Francisco de Goya. More

Francisco José de Goya y Lucientes (30 March 1746 – 16 April 1828) was a Spanish romantic painter and printmaker. He is considered the most important Spanish artist of late 18th and early 19th centuries and throughout his long career was a commentator and chronicler of his era. Immensely successful in his lifetime, Goya is often referred to as both the last of the Old Masters and the first of the moderns. He was also one of the great portraitists of modern times. More on Francisco José de Goya

John Reinhard Weguelin,  (1849–1927)
The Obsequies of an Egyptian Cat, c. 1886
Oil on canvas
994 x 1425 x 85 mm
AUCKLAND ART GALLERY

A priestess offers gifts of food and milk to the spirit of a cat. On an altar stands the mummy of the deceased, and the tomb is decorated with frescoes, urns of fresh flowers, lotus blossoms, and statuettes. The priestess kneels as she wafts incense smoke toward the altar. In the background, a statue of Sekhmet or Bastet guards the entrance to the tomb. More this painting

In 1889 eight illustrations by J R Weguelin, although not this image, were published in The Cat of Bubastes: A Tale of Ancient Egypt, by the popular and prolific historical novelist G A Henty. The plot turns on the accidental killing of a sacred cat:

So esteemed were even the most common animals of the cat tribe that, if a cat happened to die in a house, the inhabitants went into mourning and shaved their eyebrows in token of their grief; the embalmers were sent for, the dead cat made into a mummy, and conveyed with much solemnity to the great catacombs set aside for the burial of the sacred animals. More Egyptian Cat

John Reinhard Weguelin,  (1849–1927)
The Bath, c. 1890
Oil on canvas
20 × 10 in (50.8 × 25.4 cm)
Private Collection

John Reinhard Weguelin RWS (June 23, 1849 – April 28, 1927) was an English painter and illustrator, active from 1877 to after 1910. He specialized in figurative paintings with lush backgrounds, typically landscapes or garden scenes. Weguelin emulated the neo-classical style of Edward Poynter and Lawrence Alma-Tadema, painting subjects inspired by classical antiquity and mythology. He depicted scenes of everyday life in ancient Greece and Rome, as well as mythological subjects, with an emphasis on pastoral scenes. Weguelin also drew on folklore for inspiration, and painted numerous images of nymphs and mermaids. 

Although his earliest work was in watercolour, all of Weguelin's important works from 1878 to 1892 were oil paintings. 

Weguelin's work was exhibited at the Royal Academy and a number of other important London galleries, and was highly regarded during his career. However, he was forgotten following the first World War, as his style of painting fell out of fashion. More John Reinhard Weguelin

Rudolf Ernst, VIENNE 1854 - 1932 PARIS, ÉCOLE AUTRICHIENNE
LANGUOROUS ORIENTAL LADY WITH A ROSE
Oil on panel
61 x 49 cm ; 24 by 19 1/4 in.
Private Collection

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 

Rudolf Ernst, VIENNE 1854 - 1932 PARIS, ÉCOLE AUTRICHIENNE
LANGUOROUS ORIENTAL LADY 
Detail

Stephan Sedlacek, 1868 - 1936, AUSTRIAN
IN THE HAREM
Oil on canvas
82 by 129cm., 32 by 50½in.
Private Collection

Stephan Sedlacek : Czech, b. 1868 – d. 1936, a Victorian artist. Full detailed biography have been difficult to collect.

Sedlacek appears to have had quite a close understanding of the upper classes, with a few images of lower classes visiting fortune tellers, and a series on visiting an oriental harem, but for the most part Sedlacek seems to focus on capturing the opulence of the social activities of the elite. The people are small, wrapped in the finery of their fashion and surroundings, basking in the fortune that has smiled upon them. The scenes are calm, peaceful and very refined. An embodiment of the ideals of the era. More Stephan Sedlacek

Gustav Bauernfeind, 1848 - 1904, GERMAN
A WELL IN JAFFA, c. 1880 
Watercolour and pencil on paper
35.5 by 48cm., 14 by 19in.
Private Collection

The present work dates from Bauernfeind's first visit to Palestine in 1880. Although Jaffa was the main port of entry for travelers to Jerusalem, Bauernfeind was one of the few Orientalist artists to depict the city. More Jaffa

Jaffa is an ancient port city in Palistine. Jaffa is famous for its association with the biblical stories of Jonah, Solomon and Saint Peter as well as the mythological story of Andromeda and Perseus.

The town was mentioned in Egyptian sources and the Amarna letters as Yapu. Mythology says that it is named for Japheth, one of the sons of Noah, the one who built it after the Flood. The Hellenist tradition links the name to Iopeia, or Cassiopeia, mother of Andromeda. An outcropping of rocks near the harbor is reputed to have been the place where Andromeda was rescued by Perseus. Pliny the Elder associated the name with Iopa, daughter of Aeolus, god of the wind. The Arab geographer al-Muqaddasi referred to it as Yaffa. More Yaffa

Gustav Bauernfeind, 1848 - 1904, GERMAN
Market at Jaffa, 1877
Oil on canvas
Private Collection

Gustav Bauernfeind (4 September 1848, Sulz am Neckar - 24 December 1904, Jerusalem) was a German painter, illustrator and architect. He is considered to be one of the most notable Orientalist painters of Germany.

After completing his architectural studies in Stuttgart, he worked in the architectural firm of Professor Wilhelm Bäumer and later in that of Adolph Gnauth, where he also learned painting. In his earlier paintings, Bauernfeind focused on local views of Germany, as well as motifs from Italy. During his journey to the Levant from 1880 to 1882, he became interested in the Orient and repeated his travels again and again. In 1896 he moved with his wife and son all the way to Palestine and subsequently settled in Jerusalem in 1898. He also lived and worked in Lebanon and Syria.

Gustav Bauernfeind, 1848 - 1904, GERMAN
SENTINEL AT THE ENTRANCE TO THE TEMPLE MOUNT, JERUSALEM, c. 1883
Oil on panel
24 by 32cm., 9½ by 12½in.
Private Collection

His work is characterized primarily by architectural views of Jerusalem and the Holy Land. The paintings of Bauernfeind are mostly meticulously crafted, intricately composed and almost photographically accurate cityscapes and images of known sanctuaries in oil. In addition, he produced landscape scenes and watercolours. During his lifetime he was the most popular Orientalist painter of Germany, but soon fell into oblivion after his death. However, since the early 1980s, Bauernfeind was gradually rediscovered. At his birthplace in Sulz am Neckar, the life and work of the painter is commemorated by the Gustav Bauernfeind Museum with a large permanent exhibition. More Gustav Bauernfeind 

The Temple Mount, "Mount of the House [of God, known to Muslims as the Haram esh-Sharif,  "the Noble Sanctuary", is a hill located in the Old City of Jerusalem, is one of the most important religious sites in the world. It has been venerated as a holy site for thousands of years by Judaism, Christianity, and Islam. The present site is dominated by three monumental structures from the early Umayyad period: the al-Aqsa Mosque, the Dome of the Rock and the Dome of the Chain, as well as four minarets. Herodian walls and gates with additions dating back to the late Byzantine and early Islamic periods cut through the flanks of the Mount. Currently it can be reached through eleven gates, ten reserved for Muslims and one for non-Muslims, with guard posts in the vicinity of each. More on The Temple Mount

The view is through the Bab as-Silsileh (Chain Gate) in the Temple Mount's western wall, with the Dome of the Rock beyond.

Jacques-Joseph Eeckhout, ANVERS 1793 - 1861 PARIS, ÉCOLE BELGE
THE SLAVE MERCHANT IN TURKEY, c. 1853
Oil on canvas
57,5 x 48 cm ; 22 5/8 by 18 7/8 in.
Private Collection

Jacobus Josephus Eeckhout (2 June 1793 – 25 December 1861) was a Flemish painter. He was born at Antwerp, and studied first at the Academy of that city. He painted historical and genre subjects, and portraits, and in 1829 he was elected a member of the Academies of Amsterdam, Antwerp, Brussels, and Rotterdam. He settled at the Hague in 1831, and in 1839 became director of the Academy in that city, and after staying at Mechlin and Brussels he went to live in Paris in 1859. He imitated Rembrandt with some skill, and may be considered one of the most distinguished painters of the modern Dutch school. His compositions are expressive and lively, and the colouring vigorous. More on Jacobus Josephus Eeckhout 




Acknowledgement: Sotheby's, and others

Please visit my other blogs: Art CollectorMythologyMarine ArtPortrait of a Lady, The OrientalistArt of the Nude and The Canals of VeniceMiddle East Artists365 Saints365 Days, and Biblical Icons, also visit my Boards on Pinterest

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

I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

I do not sell art, 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.

Thank you for visiting my blog and also for liking its posts and pages.

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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

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 




Acknowledgement: Sotheby's, and others

Please visit my other blogs: Art CollectorMythologyMarine ArtPortrait of a Lady, The OrientalistArt of the Nude and The Canals of VeniceMiddle East Artists365 Saints and 365 Days, also visit my Boards on Pinterest

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

I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

I do not sell art, 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.

Thank you for visiting my blog and also for liking its posts and pages.

Please note that the content of this post primarily consists of articles available from Wikipedia or other free sources online.


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








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