Saturday, March 25, 2017

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

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

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, 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, 1855-1935, AUSTRIAN
A STREET CELEBRATION IN CAIRO, c. 1912
Oil on canvas
177 by 203cm., 69½ by 80in.
Private Collection

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 Girardet, 1853 - 1907, FRENCH
A DESERT CARAVAN
Oil on canvas
68.5 by 109cm., 27 by 43in.
Private Collection

Girardet's luminous, cinematic view of the nomadic life depicts a Berber tribe crossing the desert, following the course of a wadi or dried riverbed towards its next camp and watering place. The painting is as much a celebration of the stoicism and dignity of the self-sufficient tribesmen and women, shepherding their herd as they travel, as it is of the Saharan light: the juxtaposition of the deep shade in the foreground and the bright sunrise farther back, illuminating the dust thrown up by the moving caravan, accentuates the intensity of the desert sun. More A DESERT CARAVAN

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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11 Paintings, PORTRAIT OF A LADY, with Footnotes. # 16

Corneille de La Haye dit de Lyon and his workshop
LA HAYE 1500/1510 - 1575 LYON
PORTRAIT OF MADAME ANNE DE PISSELEU, DUCHESSE D'ETAMPES 
Oil on panel 
17 x 14 cm; 6 3/4 by 5 1/2 in
Private Collection

Anne de Pisseleu d'Heilly, the duchesse d'Etampes. Anne was born in 1508 (making her fourteen years younger than the king) and began her career at court as maid of honor to François's mother, Louise de Savoie. When François returned to France in 1526 from his imprisonment in Spain, he discovered the lovely--and ambitious--Anne and took her as his lover. She became his official mistress and for the next twenty years, until his death in 1547, she wielded significant influence in political and artistic circles at the French court. More Anne de Pisseleu d'Heilly, the duchesse d'Etampes.

Corneille de Lyon or Corneille de la Haye (born between 1500 and 1510 in The Hague and died in 1575 in Lyon ) was a royal painter of Franco - Dutch portraits.

Although he was known at the time as Corneille de la Haye, he knew nothing of his Dutch youth and arrived in Lyons at the latest in 1533 . Painting the portraits of several members of the royal family, he was given the title of royal painter in 1541. Despite this work, he remained in the Rhone town throughout his life. By marrying the daughter of a renowned printer, he became part of the notability of the city, and acquired a solid social position, living in the printers' quarter near Notre-Dame-de-Confort .

He lived by his work as a painter, and cooperated with other artists in the neighborhood. His studio preserves a gallery of copies of the paintings of the most famous personages he has painted. This allows customers to acquire a new copy, or encourages them to have the portrait painted by a renowned painter. His affairs seem to be prosperous until the wars of religion , during which, despite his attachment to the Reformed religion , he did not appear to be the victim of aggression. He converted to the catholic religion in 1569.

The art of Corneille, of small portrait without decoration, was innovative for the time, and gave him great prestige, to the point that the paintings of this style end up being designated as "Corneilles". Working in oil on wood, he focused his work on the face and the bust. Corneille was very precise in the composition of hair and beards. His models rarely wear heavy decorated clothes, his style remained very sober. The background of his paintings is always without decoration and he seems to work without preparatory drawing. More Corneille de Lyon or Corneille de la Haye

Studio of Sir Peter Lely, SOEST 1618 - 1680 LONDON
PORTRAIT OF LADY ESSEX (NÉE RICH) FINCH, LATER COUNTESS OF NOTTINGHAM
Oil on canvas
49 by 39 3/4 in.; 124.5 by 101 cm.
Private Collection

The question of likeness with Lely is always a difficult subject as even his contemporaries commented on the fact that many of his sitters looked similar – 'Mr Walker, ye Painter swore Lilly's Pictures, was all Brothers and Sister'. This sitter bears strong affinities to those in other works which have traditionally been called Nell Gwyn, the longtime mistress of Charles II and among Lely's most famous subjects, with whom many portraits by Lely and his studio have been associated, both correctly and incorrectly. More question of likeness

Lady Essex (Rich) Finch, later Countess of Nottingham, British, 1652 - 1684 was born around 1652, the youngest of three daughters of Robert Rich, 3rd Earl of Warwick, and his second wife, Anne Cheeke Rogers. Her mother died within a few years of her birth, and her father made a death-bed request that she and her sisters be raised by Mary Rich, wife of his brother and heir, Charles Rich, 4th Earl of Warwick. 

Essex and her sisters were raised in a troubled domestic atmosphere, marred by the violent rages of their uncle, who suffered painfully from gout, and the morose, penitential brooding of their aunt, a religious convert who punished herself severely for the frivolous youth she spent among the Killigrew family. 

Co-heirs to their father's fortune, Lady Essex and her sisters inherited additional lands and money on their uncle's death in 1673. Vast wealth made them attractive marriage prospects. When a match was proposed with Daniel Finch, eldest son of Sir Heneage Finch,, Lord Keeper of the Great Seal and later 1st Earl of Nottingham. Finch was a man of stellar character and won Lady Warwick's approbation. Several months later, Essex gave her consent and they were married on June 16, 1674, at Leighs Priory, near Felsted, Essex. The couple resided with the groom's parents in Kensington (now Kensington Palace). Tender letters from her husband and father-in-law reveal that Lady Essex (who suffered from delicate health) was the object of affectionate concern. Her husband served as Secretary of the Navy from 1679 to 1684, and by his father's death on December 18, 1782, he became 2nd Earl of Nottingham. The Countess gave birth to eight children, and adopted the unusual practice of nursing them herself. All but one died in infancy. Essex, Countess of Nottingham, died from complications of childbirth on March 23, 1684, and was buried in the Finch family vault at Ravenstone, Buckinghamshire. Nine months later her husband married eighteen-year-old Anne Hatton (1667-1743), third daughter of Christopher, 1st Viscount Hatton of Gretton. A notable poet, she bore approximately thirty children in forty-four years of marriage. More Lady Essex

Sir Peter Lely (14 September 1618 – 30 November 1680) was a painter of Dutch origin, whose career was nearly all spent in England, where he became the dominant portrait painter to the court.

Lely was born Pieter van der Faes to Dutch parents, his father was an officer serving in the armed forces of the Elector of Brandenburg. Lely studied painting in Haarlem He became a master of the Guild of Saint Luke in Haarlem in 1637. He is reputed to have adopted the surname "Lely" (also occasionally spelled Lilly) from a heraldic lily on the gable of the house where his father was born in The Hague.

He arrived in London in around 1641. His early English paintings, mainly mythological or religious scenes, or portraits set in a pastoral landscape. Lely's portraits were well received, and he succeeded Anthony van Dyck as the most fashionable portrait artist in England. He became a freeman of the Painter-Stainers' Company in 1647 and was portrait artist to Charles I. His talent ensured that his career was not interrupted by Charles's execution, and he served Oliver Cromwell, and Richard Cromwell. 

Peter Lely (1618–1680)
Unknown Woman, (Margaret Hughes ?) circa 1670-75
Oil on canvas
Tate Britain

While the identity of the sitter is uncertain, her bared breast suggests that she is some powerful man's mistress rather than a lady of impeccable virtue. Her left hand rests on a golden object, perhaps the jar that symbolises the reformed biblical sinner Mary Magdalene. Her other hand quietens an attentive spaniel, a breed often identified with the Stuart royal family.The inscription on the ledge, 'Dutchess of Cleveland', was probably added a century later. More on the Unknown Woman

Margaret Hughes (c. 1630 – 1 October 1719), also Peg Hughes or Margaret Hewes, is often credited as the first professional actress on the English stage. Hughes was also famous as the mistress of the English Civil War general and later Restoration admiral, Prince Rupert of the Rhine. More Margaret Hughes

After the English Restoration in 1660, Lely was appointed as Charles II's Principal Painter in Ordinary in 1661, with a stipend of £200 per year, as Van Dyck had enjoyed in the previous Stuart reign. Lely became a naturalised English subject in 1662.

Demand was high, and Lely and his large workshop were prolific. After Lely painted a sitter's head, Lely's pupils would often complete the portrait in one of a series of numbered poses. As a result, Lely is the first English painter who has left "an enormous mass of work", although the quality of studio pieces is variable.  More Sir Peter Lely

MASTER of the Story of Griselda
Artemisia I of Caria, c. 1492
Oil on panel, 88 x 46 cm
Museo Poldi Pezzoli, Milan

This painting, attributed to an anonymous Sienese master referred to as the Master of the Story of Griselda, was probably commissioned on the occasion of a wedding. The figures of this artist are characterized by an elongated body and almost dancing movement. The artist was influenced by Luca Signorelli who worked in Siena in this period. More

The Roman writer Aulus Gellius, narrates that in 351 B. C. the widowed Artemisia removed the ashes of her brother and husband, Mausolus, from his tomb, the Mausoleum at Halicarnassus in Asia Minor (visible behind), mixed the ashes into a potion, and drank it.

Artemisia I of Caria was a Greek queen of the ancient Greek city-state of Halicarnassus and of the nearby island of Kos, within the Achaemenid satrapy of Caria, in about 480 BCE. She fought as an ally of Xerxes I, King of Persia against the independent Greek city states during the second Persian invasion of Greece. She personally commanded her contribution of five ships at the naval battle of Artemisium and in the naval Battle of Salamis in 480 BCE. She is mostly known through the writings of Herodotus, himself a native of Halicarnassus, who praises her courage and the respect in which Xerxes held her. 

The ships she brought had the second best reputation in the whole fleet, next to the ones from Sidon.

During the battle, when Artemisia saw that she was near to falling into the hands of the Greeks, she ordered the Persian colours to be taken down, and the master of the ship to bear down upon and attack a Persian vessel of the Calyndian allies, which was commanded by Damasithymus, that was passing by her.

When the captain of the Athenian ship saw her charge against a Persian ship, he turned his ship away and went after others, supposing that the ship of Artemisia was either a Greek ship or was deserting from the Persians and fighting for the Greeks.

According to Polyaenus, when Xerxes saw her sink the ship, he said: "O Zeus, surely you have formed women out of man's materials, and men out of woman's." More Artemisia I of Caria

Paul Raphael Meltsner, 1905 - 1967
PORTRAIT OF GERTRUDE LAWRENCE
Oil on canvas
38 by 33 inches, (96.5 by 83.8 cm)
Private Collection

Gertrude Lawrence, original name Gertrud Alexandra Dagma Lawrence Klasen (born July 4, 1898, London, Eng.—died Sept. 6, 1952, New York, N.Y., U.S.), English actress noted for her performances in Noël Coward’s sophisticated comedies and in musicals.

Lawrence was the daughter of music hall performers, and from an early age she was trained to follow their career. She made her stage debut in December 1908 in a pantomime Dick Whittington in Brixton. Subsequently she appeared in Babes in the Wood (1910) and other musicals and plays, and for a time she toured in minor revues. In 1916 she began appearing in André Charlot’s intimate revues in London, and two years later she stepped into the lead when Beatrice Lillie fell ill. She appeared with Coward, whom she had known for 10 years, in his London Calling (1923) and in January 1924 made her New York debut as one of the stars of Charlot’s Revue. Lawrence’s greatest role was in Coward’s Private Lives, written with her in mind. Both the play and the stars set the tone that would characterize comedies of manners for a decade or more. Perhaps Lawrence’s greatest triumph was as Liza Elliot in the Moss Hart–Kurt Weill musical Lady in the Dark (1941). Coward called her “star quality.” On the strength of it she remained for a quarter-century one of the most popular stars on the American and British stages. In March 1951 she opened on Broadway in Rodgers and Hammerstein’s The King and I, during the run of which she died. More Gertrude Lawrence

Paul Raphael Meltsner (1905–1966) was an American artist who was widely recognized for his Works Progress Administration (WPA) era paintings and lithographs, and who was later known for his iconic portraits of celebrities in the performing arts.

Paul Meltsner sold his first painting when he was eight years old to the government of Palestine for $25. He was born in New York City and attended public schools in Harlem before graduating Flushing High School in 1922. Meltsner later studied at the National Academy of Design and did illustration work for Coronet and Bachelor magazines. 

Later in his career, Meltsner turned his artistic interests to portraits of celebrities in the performing arts. His portrait of Carmen Miranda, complete with a banana hat, helped to popularize Miranda's image and was acquired by the Brazilian Government for the National Museum of Brazil in Rio de Janeiro. Meltsner would become widely recognized for his depictions of performers in the dramatic arts. One of Meltsner's Graham portraits is housed in the National Portrait Gallery at the Smithsonian Institution in Washington, D.C., another in the Wichita Art Museum in Wichita, Kansas, and another hangs in the National Museum of Argentina in Buenos Aires. More Paul Raphael Meltsner 

Norman Rockwell, 1894 - 1978
PORTRAIT OF PATRICIA MERNONE, c. 1969
Oil on canvas
29 by 27 inches, (73.7 by 68.6 cm)
Private Collection

Patricia Mernone, was one of the great women American sports car drivers of the 1960s. Academically trained as an organic micro-analytical chemist, she became interested in racing in in 1961, when her father took-up the sport.  By 1968, she had competed in at least 28 major races in the United States and placed first or second in at least 12 of them.  Described as slim, petite and feminine, Mernone was an aggressive force to be reckoned with on the track. More Patricia Mernone

Norman Rockwell, 1894 - 1978
STUDY FOR PORTRAIT OF PATRICIA MERNONE, c. 1969
Pencil and charcoal on paper
28 3/4 by 27 inches, (73 by 68.6 cm)
Private Collection

Pat Mernone. Pete's bio notes that Pat was daughter of Ed Mernone who was one of the pioneers in the development of Summit Point Raceway.

Norman Perceval Rockwell (February 3, 1894 – November 8, 1978) was a 20th-century American author, painter and illustrator. His works enjoy a broad popular appeal in the United States for their reflection of American culture. Rockwell is most famous for the cover illustrations of everyday life he created for The Saturday Evening Post magazine over nearly five decades. He also is noted for his 64-year relationship with the Boy Scouts of America, during which he produced covers for their publication Boys' Life, calendars, and other illustrations. More Norman Perceval Rockwell

Edmund Blampied, (British, 1886-1966)
Isabella, c. 1955
Oil on board
19 x 28cm (7 1/2 x 11in).
Private Collection

Edmund Blampied (30 March 1886 – 26 August 1966) was born on a farm in the Parish of Saint Martin, Jersey in the Channel Islands on 30 March 1886. He was was one of the most eminent artists to come from the Channel Islands, yet he received no formal training in art until he was 16 years old. He was noted mostly for his etchings and drypoints published at the height of the print boom in the 1920s during the etching revival, but was also a lithographer, caricaturist, cartoonist, book illustrator and artist in oils, watercolours, silhouettes and bronze. More Edmund Blampied

Raphael (1483–1520)
Portrait of Maddalena Doni Born Strozzi, c. 1506
Oil on panel
63 × 45 cm (24.8 × 17.7 in)
Pitti Palace,  Florence, Italy

Agnolo Doni married Maddalena Strozzi in 1503, but Raphael's portraits were probably executed in 1506, the period in which the painter studied the art of Leonardo da Vinci most closely. The composition of the portraits resembles that of the Mona Lisa: the figures are presented in the same way in respect to the picture plane, and their hands, like those of the Mona Lisa, are placed on top of one another. But the low horizon of the landscape background permits a careful assessment of the human figure by providing a uniform light which defines surfaces and volumes. This relationship between landscape and figure presents a clear contrast to the striking settings of Leonardo, which communicate the threatening presence of nature.

But the most notable characteristic that distinguishes these portraits from those of Leonardo is the overall sense of serenity which even the close attention to the materials of clothes and jewels (which draw one's attention to the couple's wealth) is unable to attenuate. Every element - even those of secondary importance - works together to create a precise balance.

These works, linked not only by the kinship of the subjects, but also by their evident stylistic homogeneity, mark the beginning of Raphael's artistic maturity. More The Portrait of Maddalena Doni

Raffaello Sanzio da Urbino (April 6 or March 28, 1483 – April 6, 1520), known as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, and visual achievement of the Neoplatonic ideal of human grandeur. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period.
Raphael was enormously productive, running an unusually large workshop and, despite his death at 37, leaving a large body of work. Many of his works are found in the Vatican Palace. The best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was executed by his workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. More Raffaello

John William Waterhouse, (1849–1917)
Gather Ye Rosebuds While Ye May, c. 1908
Oil on canvas
61.6 × 45.7 cm (24.3 × 18 in)
Private collection
Gather Ye Rosebuds While Ye May is an oil painting on canvas created in 1908 by British Pre-Raphaelite artist, John William Waterhouse. It was the first of two paintings inspired by the 17th century poem "To the Virgins, to Make Much of Time" by Robert Herrick which begins:
Gather ye rosebuds while ye may,
Old Time is still a-flying;
And this same flower that smiles today
Tomorrow will be dying.

John William Waterhouse (April 6, 1849 – February 10, 1917) was an English painter known for working in the Pre-Raphaelite style. He worked several decades after the breakup of the Pre-Raphaelite Brotherhood, which had seen its heyday in the mid-nineteenth century, leading to his sobriquet "the modern Pre-Raphaelite". Borrowing stylistic influences not only from the earlier Pre-Raphaelites but also from his contemporaries, the Impressionists, his artworks were known for their depictions of women from both ancient Greek mythology and Arthurian legend.
Born in Italy to English parents who were both painters, he later moved to London, where he enrolled in the Royal Academy of Art. He soon began exhibiting at their annual summer exhibitions, focusing on the creation of large canvas works depicting scenes from the daily life and mythology of ancient Greece. Later on in his career he came to embrace the Pre-Raphaelite style of painting despite the fact that it had gone out of fashion in the British art scene several decades before. More


B. Prabha, 1933 - 2001
UNTITLED (FISHER WOMAN), c. 1960
Oil on canvas 
28 x 24 in. (71 x 61 cm.)
Private Collection

B. Prabha (1933–2001) was a major Indian artist who worked mainly in oil, in an instantly recognizable style. She is best known for graceful elongated figures of pensive rural women, with each canvas in a single dominant color. By the time of her death, her work had been shown in over 50 exhibitions, and is in some important collections, including India's National Gallery of Modern Art.

 She was moved by the lives of rural women, and over time, they became the main theme of her work. In an interview with "Youngbuzz India," she said:

Prabha came to Bombay as a struggling artist, with little money. Her first exhibition, while she was still a student, set her on the path to success. More B. Prabha








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Thursday, March 23, 2017

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.