01 Painting by Orientalist Artists, The Art of War, Eugène Delacroix's Collision of the Moorish Horsemen, with footnotes #98

Eugène Delacroix (French, 1798-1863)

Collision of the Moorish Horsemen, c. 1843-1844

Oil on canvas

H: 32 x W: 39 in. (81.3 x 99.1 cm)

The Walters Art Museum

"During their military exercises, which consist of riding their horses at full-speed and stopping them suddenly after firing a shot, it often happens that the horses carry away their riders and fight each other when they collide." 

Delacroix uses fluid brush work to capture the color and movement of an Arab Fantasia, or ceremonial cavalry charge, mimicking battle, which he witnessed at the court of Sultan Abd-er-Rahmen of Morocco (1778-1859). More on this painting

Ferdinand Victor Eugène Delacroix (26 April 1798 – 13 August 1863) was a French Romantic artist regarded from the outset of his career as the leader of the French Romantic school.

As a painter and muralist, Delacroix's use of expressive brushstrokes and his study of the optical effects of colour profoundly shaped the work of the Impressionists, while his passion for the exotic inspired the artists of the Symbolist movement. A fine lithographer, Delacroix illustrated various works of William Shakespeare, the Scottish author Walter Scott and the German author Johann Wolfgang von Goethe.

Delacroix took for his inspiration the art of Rubens and painters of the Venetian Renaissance, with an attendant emphasis on colour and movement rather than clarity of outline and carefully modelled form. Dramatic and romantic content characterized the central themes of his maturity, and led him not to the classical models of Greek and Roman art, but to travel in North Africa, in search of the exotic. Friend and spiritual heir to Théodore Géricault, Delacroix was also inspired by Lord Byron, with whom he shared a strong identification with the "forces of the sublime", of nature in often violent action.

However, Delacroix was given to neither sentimentality nor bombast, and his Romanticism was that of an individualist. In the words of Baudelaire, "Delacroix was passionately in love with passion, but coldly determined to express passion as clearly as possible." More on Ferdinand Victor Eugène Delacroix

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01 Painting, Orientalist Artists, The Art of War, Adolf Schreyer's Arab Horsemen, with footnotes #96

Adolf Schreyer (German, 1828–1899)

Arab Horsemen, c. 1887-1890

Oil on canvas

25 1/4 x 34 inches (64.1 x 86.4 cm)

Philadelphia Museum of Art

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 on Adolf Schreyer

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01 Work, The Art of War, Henry Zaidan's The Guard, with footnotes #99

Henry Zaidan

The Guard, c. 2024

900x1000

AI with Deviantart

The guard wears a helmet with a chain mail, finely decorated. Notably, visible is a shamshir, strapped to her side. She slightly leans in front of the beautifully carved wooden door she is guarding. The façade of the building is surmounted by an elegant calligraphic panel framed by Iznik carvings. 

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

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01 Painting by Orientalist Artists, The Art of War, GUSTAVO SIMONI's CHARGING CAVALIERS, with footnotes #95

GUSTAVO SIMONI (ITALIAN 1846-1926)

CHARGING CAVALIERS, c. 1914

Oil on canvas

45.5cm x 61cm (18in x 24in)

Private collection

Sold for £4,000 in February 2019

Gustavo Simoni was born in Rome. From 1861 until 1866 he studied at the Accademia de San Luca where his teachers were Salvatore Betti, Giuseppe Ferrari and Enrico Tarenghi. By 1875, Simoni had become one of the first members of the Società degli Acquarellisti, founded by Ettore Roesler Franz and Nazzareno Cipriani.

Simoni traveled extensively during the late 1870s and early 1880s, visiting France and Spain, but primarily North Africa, where he spent time in Algeria, Tunisia and Morocco. For a significant portion of this period, the artist was based in a house in the Algerian town of Tlemcen. There he was visited by friends and fellow artists from Rome and devoted his time to producing numerous studies of the people and architecture of the region. The American painter Frederick Arthur Bridgman was among the group of Orientalists who spent extended periods of time in Tlemcen, similarly finding it to be a rich source of subject matter for their art.

While continuing his travels to North Africa, Gustavo Simoni also became a fixture in the art scenes of both Paris, where he had a studio, and Rome, where he opened a school for Orientalist painting. In 1886, Simoni exhibited two Algerian subjects at the Società degli Amatori e Culture di Belle Arti in Rome. And in 1889, the artist was awarded a gold medal in Paris for his monumental painting depicting the burning of the palace of Persepolis. More on Gustavo Simoni

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03 Paintings by Orientalist Artists, The Art of War, Eugène Delacroix's Combat du Giaour et Hassan/ The Combat of the Giaour and Hassan, with footnotes #97

Eugène Delacroix  (1798–1863)

Combat du Giaour et Hassan/ The Combat of the Giaour and Hassan, c. 1826

Oil on canvas

height: 59.6 cm (23.4 in); width: 73.4 cm (28.8 in)

Art Institute of Chicago

Europeans’ interest in fantastical and often violent depictions of Middle Eastern, North African, and Asian cultures, which reinforced colonialist aims. Although Eugène Delacroix did not visit North Africa until 1832, he began painting Orientalist subjects early on in his career. More on this painting

The Combat of the Giaour and Hassan is the title of three works by Eugène Delacroix, produced in 1826, 1835 and 1856. They all show a scene from Lord Byron's 1813 poem The Giaour, with the Giaour ambushing and killing Hassan, the Pasha, before retiring to a monastery. Giaour had fallen in love with Leila, a slave in Hassan's harem, but Hassan had discovered this and had her killed. More on The Combat of the Giaour and Hassan

Eugène Delacroix  (1798–1863)

Combat du Giaour et du Pacha/ Combat of the Giaour and the Pasha, c. 1835

Oil on canvas

height: 73 cm (28.7 in); width: 61 cm (24 in)

Petit Palais

The Giaour, erect above his saddle, tears with a wild smile the fabric covering the pasha's chest to reach the heart with the sharp blade of his sword. The pasha, in unstable balance on his horse, clutching his dagger in his right hand, tries to repel his assailant with the other hand. The ferocity of the fight is also expressed in the attitude of the horses, the black horse biting the white horse on the chest, already wounded in the thigh. The latter seems reluctant to step on the corpse of a Muslim lying on the ground. For Delacroix, the subject is above all a pretext to depict a close combat of great intensity. More on this painting

I only found two of the three mentioned painting!

Eugène Delacroix (French, 1798-1863)

A Turk Surrenders to a Greek Horseman, c. 1856

Oil on paper laid down on canvas

80 x 64.1 cm (31 1/2 x 25 1/4 in.)

Private collection

In the mid-1850s, Delacroix returned to themes he had treated thirty years earlier, though with an important difference. Rather than carefully distinguish literary from historical and topical subjects, he conflated them, as in this instance. Here, he draws on Byron’s description of the giaour (a Turkish slur for non-Muslims) overcoming the Turkish pasha in his poem “The Giaour, a Fragment of a Turkish Tale” (1813). To a contemporary audience, the composition could have appeared to be an episode from the Greek War of Independence (1821–32), a romantic cause célèbre that had inspired two of Delacroix’s large canvases of the 1820s. The result is a nostalgic invention that appealed to mid-century French orientalist fantasies. More on this painting

Ferdinand Victor Eugène Delacroix (26 April 1798 – 13 August 1863) was a French Romantic artist regarded from the outset of his career as the leader of the French Romantic school.

As a painter and muralist, Delacroix's use of expressive brushstrokes and his study of the optical effects of colour profoundly shaped the work of the Impressionists, while his passion for the exotic inspired the artists of the Symbolist movement. A fine lithographer, Delacroix illustrated various works of William Shakespeare, the Scottish author Walter Scott and the German author Johann Wolfgang von Goethe.

Delacroix took for his inspiration the art of Rubens and painters of the Venetian Renaissance, with an attendant emphasis on colour and movement rather than clarity of outline and carefully modelled form. Dramatic and romantic content characterized the central themes of his maturity, and led him not to the classical models of Greek and Roman art, but to travel in North Africa, in search of the exotic. Friend and spiritual heir to Théodore Géricault, Delacroix was also inspired by Lord Byron, with whom he shared a strong identification with the "forces of the sublime", of nature in often violent action.

However, Delacroix was given to neither sentimentality nor bombast, and his Romanticism was that of an individualist. In the words of Baudelaire, "Delacroix was passionately in love with passion, but coldly determined to express passion as clearly as possible." More on Ferdinand Victor Eugène Delacroix

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

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.

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01 Painting by Orientalist Artists, The Art of War, Théodore Chassériau's Battle of Arab Horsemen Around a Standard, with footnotes #95

Théodore Chassériau, 1819/1856

Battle of Arab Horsemen Around a Standard (Bataille de cavaliers Arabes autour d'un étendard), c. 1854

Oil on canvas

w63.98 x h53.98 cm

Dallas Museum of Art

The painting is very dramatic and dense, and the soldiers and horses in the center are sketched with loose brushstrokes. The dramatism of the composition is emphasized by the closeness between the participants in the battle and by some gory details, such as the human severed head and his corpse, at the left, in the ground, the bloody swords and the terrified expression of the horses. More on this painting

Théodore Chassériau (September 20, 1819 – October 8, 1856) was a Dominican-born French Romantic painter noted for his portraits, historical and religious paintings, allegorical murals, and Orientalist images inspired by his travels to Algeria. Early in his career he painted in a Neoclassical style close to that of his teacher Jean-Auguste-Dominique Ingres, but in his later works he was strongly influenced by the Romantic style of Eugène Delacroix. He was a prolific draftsman, and made a suite of prints to illustrate Shakespeare's Othello. The portrait he painted at the age of 15 of Prosper Marilhat, makes Théodore Chassériau the youngest painter exhibited at the Louvre museum. More on Théodore Chassériau

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

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01 Painting by Orientalist Artists. Hocine Ziani's The Numidian horseman, with footnotes, 94

Hocine Ziani

The Numidian horseman, c. 1990

Oil painting on canvas

Private collection, 

Numidian cavalry was a type of light cavalry developed by the Numidians. After they were used by Hannibal during the Second Punic War, they were described by the Roman historian Livy as "by far the best horsemen in Africa."

The Numidian cavalry's horses, ancestors of the Berber horse, were small compared to other horses of the era, and were well adapted for faster movement over long distances. Numidian horsemen rode without saddles or bridles, controlling their mounts with a simple rope around their horse's neck and a small riding stick. They had no form of bodily protection except for a round leather shield or a leopard skin, and their main weapons were javelins in addition to a short sword.

Due to their expert horsemanship and agility, as well as their lack of armor or heavy weaponry, they were most suitable for harassing tactics, charging in loose formation and lobbing their javelins before wheeling off to escape the enemy's counterattack. This harassing tactic, while rarely decisive, could be extremely frustrating to a less mobile enemy, as experienced by Julius Caesar's soldiers during the latter's invasion of Africa

Hannibal's invasion of Rome during the Second Punic War is best known for his use of slow-moving war elephants, but he also employed Numidian cavalry where faster movement was needed, such as luring the Romans into a trap at the Battle of Trebia and for fighting on his right flank.

Numidian cavalry were widely known and not only fought in the Carthaginian army, but in other armies of the time as well. Again during the Second Punic War, the Romans allied with the Numidian king Masinissa who led 6000 horsemen against Hannibal's own in the battle of Zama, where the "Numidian Cavalry turned the scales".

For centuries thereafter, the Roman army employed Numidian light cavalry in separate units.

The Numidian cavalry were also used in Caesars Civil War on the side of Pompey and were used in Battle of Utica. More on Numidian cavalry 

Although born in Algeria in 1953, Hocine Ziani both lives and works in France. Ziani's childhood passion was drawing, which he did so frequently and anywhere he could. Nature, his village, the community around him, and his family were his favorite subjects and it was this creative tenacity that led him to develop his own style of painting, much in line with the Orientalist tradition. Ziani's work depicts the different shades of his native Algeria and all aspects of life in the Sahara.

The background of many of Ziani's paintings resemble the luminous, romantic dust of an on-coming mirage, heightening the drama of his otherwise simple scenes, as shown in the present work, Algerian hospitality. Here, Ziani illustrates a simple act of courtesy in a mysterious, barren landscape, beautifully rendering the jewel-toned robes of the riders on their white camels set against the dust of the desert. The result is a sobering and clean composition injected with the artist's distinct tonal range and talent for shadow and light. Whether executing huge battle scenes commissioned by the Algerian government or more domestic episodes of everyday Saharan life, Ziani's trademark has become a powerful eye for detail and drama proportionate to the genre he has distinguished.

Having actively worked in Algeria from 1978 to 1993, and now in France since 1994, Ziani has been awarded honors by the Academy of Arts in Paris, the Show of the Company of the French Artists in Paris, and the International exhibition in Vittel, among others, and his work has been acquired by numerous institutions and distinguished private collections such as the National Art Museum of Algeria, the History Museum in Buenos Aires, the National Assembly of Algeria, as well as the Royal Family of Saudi Arabia, Prince Rachid of Morocco and the Constitutional Council of Algeria. Ziani is also a founding member of the Central Army Museum in Algiers and a member of the International Fine Arts Academy in Quebec, Canada. More on Hocine Ziani

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

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.

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