01 Painting by the Orientalist Artists in the Nineteenth-Century, with footnotes, 73

Théodore Chassériau, (1819–1856) 

Ali-Ben-Hamet, Caliph of Constantine and Chief of the Haractas, followed by his Escort, c. 1845

Oil on canvas

Height: 325 cm (10.6 ft); Width: 259 cm (101.9 ″)

Musée de l'Histoire de France, Château de Versailles

The Haraktas or Haractas are a group of Berber-speaking tribes living in the Wilaya of Oum El Bouaghi and Batna. During the Ottoman period , the tribe was the largest tribe in eastern Algeria.

Constantine passed under Arab-Muslim administration around the year 700, and saw its population gradually convert to Islam. 

France embarked on the conquest of Algeria, starting in 1830. Inaugurated by Charles X, pursued by Louis-Philippe I this colonial adventure takes place in a difficult military context. In spite of their technical superiority, the French troops are confronted with fierce local resistance, of which Emir Abd El-Kader is the figurehead. Despite the Treaty of Tafna in 1837 which established a state of peace and a division of sovereignty between the French and Abd El-Kader, hostilities resume after the violation of this agreement by Louis-Philippe who orders the capture of Constantine. Originally from Constantine, Caliph Ali Ben Ahmed played a key role in these circumstances. His rallying to France was a valuable support for the control of the region. 

Théodore Chassériau made this painting on the occasion of the coming to Paris of Ali-Ben-Hamet. The caliph, impressed by the quality of the work invited the painter to Algeria where he stayed during the year 1846. More on this painting

Théodore Chassériau (September 20, 1819 – October 8, 1856) was a French Romantic painter noted for his portraits, historical and religious paintings, allegorical murals, and Orientalist images inspired by his travels to Algeria.

Chassériau was born in El Limón, Samaná, in the Spanish colony of Santo Domingo (now the Dominican Republic). In December 1820 the family left Santo Domingo for Paris, where the young Chassériau soon showed precocious drawing skills. He was accepted into the studio of Jean-Auguste-Dominique Ingres in 1830, at the age of eleven, and became the favorite pupil of the great classicist, who regarded him as his truest disciple.

After Ingres left Paris in 1834 to become director of the French Academy in Rome, Chassériau fell under the influence of Eugène Delacroix, whose brand of painterly colorism was anathema to Ingres. Chassériau's art has often been characterized as an attempt to reconcile the classicism of Ingres with the romanticism of Delacroix. He first exhibited at the Paris Salon in 1836, and was awarded a third-place medal in the category of history painting. In 1840 Chassériau travelled to Rome and met with Ingres, whose bitterness at the direction his student's work was taking led to a decisive break.

In 1846 Chassériau made his first trip to Algeria. From sketches made on this and subsequent trips he painted such subjects as Arab Chiefs Visiting Their Vassals and Jewish Women on a Balcony...

After a period of ill health, exacerbated by his exhausting work on commissions for murals to decorate the Churches of Saint-Roch and Saint-Philippe-du-Roule, Chassériau died at the age of 37 in Paris, on October 8, 1856. More on Théodore Chassériau

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01 Painting by the Orientalist Artists in the Nineteenth-Century, with footnotes, 72

Théodore Chassériau, (1819–1856)

Arab Combat, c. 1855

Oil on canvas

Height: 31.7 cm (12.5 ″); Width: 45.7 cm (18 ″)

Harvard Art Museums

Théodore Chassériau (September 20, 1819 – October 8, 1856) was a French Romantic painter noted for his portraits, historical and religious paintings, allegorical murals, and Orientalist images inspired by his travels to Algeria.

Chassériau was born in El Limón, Samaná, in the Spanish colony of Santo Domingo (now the Dominican Republic). In December 1820 the family left Santo Domingo for Paris, where the young Chassériau soon showed precocious drawing skills. He was accepted into the studio of Jean-Auguste-Dominique Ingres in 1830, at the age of eleven, and became the favorite pupil of the great classicist, who regarded him as his truest disciple.

After Ingres left Paris in 1834 to become director of the French Academy in Rome, Chassériau fell under the influence of Eugène Delacroix, whose brand of painterly colorism was anathema to Ingres. Chassériau's art has often been characterized as an attempt to reconcile the classicism of Ingres with the romanticism of Delacroix. He first exhibited at the Paris Salon in 1836, and was awarded a third-place medal in the category of history painting. In 1840 Chassériau travelled to Rome and met with Ingres, whose bitterness at the direction his student's work was taking led to a decisive break.

In 1846 Chassériau made his first trip to Algeria. From sketches made on this and subsequent trips he painted such subjects as Arab Chiefs Visiting Their Vassals and Jewish Women on a Balcony...

After a period of ill health, exacerbated by his exhausting work on commissions for murals to decorate the Churches of Saint-Roch and Saint-Philippe-du-Roule, Chassériau died at the age of 37 in Paris, on October 8, 1856. More on Théodore Chassériau

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01 Painting by the Orientalist Artists in the Nineteenth-Century, with footnotes, 71

Georges Clairin, 1843-1919, FRENCH

FANTASIA, c. 1894

Oil on canvas

98 by 146cm., 38½ by 57½in.

Private collection

Fantasia is a traditional exhibition of horsemanship in the Maghreb, performed during cultural festivals and to close Maghrebi wedding celebrations. "Fantasia" is an imported name, the actual traditional term used is lab el baroud.

The performance consists of a group of horse riders, all wearing traditional clothes, who charge along a straight path at the same speed so as to form a line, and then at the end of the charge (about two hundred meters) fire into the sky using old muskets or muzzle-loading rifles The difficulty of the performance is in synchronizing the movement of the horses during acceleration of the charge, and especially in firing the guns simultaneously so that one single shot is heard. The horse is referred to as a fantasia horse and are of Arabian, Andalusian or Barb stock. More on Fantasia 

Georges Jules Victor Clairin (11 September 1843, Paris – Pouldu, Clohars-Carnoët 2 September 1919) was a French Oriental painter and illustrator. He was influenced by oriental painting and Moorish architecture, and visited North Africa many times, in particular Morocco and Egypt. In Paris he led the life of a socialite, and befriended the glamorous actress Sarah Bernhardt, his friend for 50 years, and is today best known for his 'in costume' and informal intimate portratits of her.

Clairin was apprenticed in the workshops of Isidore Pils and François-Édouard Picot. In 1861 he entered the École des beaux-arts de Paris, and in 1866 first displayed his work. He travelled to Spain with Henri Regnault and to Italy with François Flameng and Jean-Léon Gérôme. He met the Catalan painter Marià Fortuny in Morocco and they visited Tétouan together. In 1895, he travelled to Egypt with the composer Camille Saint-Saëns.

He is best known for his portraits of Sarah Bernhardt, with whom he had a long friendship and whom he depicted in costume for a number of her roles. More on Georges Clairin

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01 Painting by the Orientalist Artists in the Nineteenth-Century, with footnotes, 70

Georges Washington, 1827 - 1910, FRENCH

FORDING THE WADI

Oil on canvas

60 by 81cm., 23½ by 32in.

Private collection

Wadi is the Arabic term traditionally referring to a valley. In some instances, it may refer to a dry riverbed that contains water only when heavy rain occurs.

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.

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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01 Painting by Orientalist Artists, with footnotes, 69

Antonio María Fabrés y Costa, 1854-1938, SPANISH

A GIFT FOR THE FAVOURITE

Oil on panel

44.5 by 55.5cm., 17½ by 22 in.

Private collection

Antoni Maria Fabrés i Costa (Spanish: Antonio Maria Fabrés y Costa; 1854–1938), also known as Antoni Fabrés, was a famous Catalan sculptor and painter during the turn of the 20th century.

It is said that he inherited his artistic skills, as his father was a draughtsman and his uncle a silversmith. He started studying at the Escola de la Llotja in his native city at the age of 13. When he turned 21, he received a grant to study in Rome. There are records of his sculptures from early in his career but later on he became a painter almost exclusively. He joined Marià Fortuny with a group that became known for their intense realism. Their popularity grew with the taste of the bourgeoisie seeking exotic images with oriental or medieval themes. In 1894 he moved to Paris. The popularity he had earned during his decade in Italy helped him open a large studio where he could create complex scenes for the upper classes.

Antoni Fabrés was called to take the place of Santiago Rebull as head of the Academia de San Carlos in Mexico City. The faculty had a hard time adapting to his distinct style and personality. In 1907, he returned to Rome. 


Fabrés was acclaimed in Barcelona, London, Paris, Vienna and Lyon. At the end of his life he was dealt a very unfortunate blow when in 1926 he decided to donate a large number of works to the Museu de Belles Arts de Barcelona. In exchange for this generous donation he asked the Museum that a hall be built with his name, but the museum never built that hall and although he protested several times, they could never settle the argument. Antoni Fabrés died in Rome in 1938. More on Antonio Fabrés

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01 Painting by the Orientalist Artists in the Nineteenth-Century, with footnotes, 68

Raphael von Ambros, 1845-1895, AUSTRIAN

THE TOBACCO SELLER, CAIRO, c. 1891

Oil on panel

75 by 62cm., 29½ by 24¼in.

Private collection

Von Ambros depicts a busy tobacco stall outside a coffee shop in the streets of Cairo. On the left, two young men roll cigarettes which have been neatly hung by the merchant on his stall. On the right, a customer samples a cigarette, pondering a purchase. Above the stall on a shelf stand five glass narghile, or hookah vessels. Water pipes were an alternative method of tobacco consumption introduced to the Middle east and Europe from India. More on this painting

Born in Prague, Raphael von Ambros was a pupil of Hans Makart (1840-1884) at the famous Vienna Academy, where he would have studied alongside an extraordinary generation of Orientalist painters such as Jean Discart (French, 1856-1944), Ludwig Deutsch (1855-1935) and Rudolf Ernst (1854-1932). Like his contemporaries, Ambros found the perfect audience for his Cairo street scenes at the Paris Salon, where he exhibited from 1887. More on Raphael von Ambros

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01 Painting by the Orientalist Artists in the Nineteenth-Century, with footnotes, 67

Léon Belly, 1827-1877, FRENCH

GAZELLE HUNT IN EGYPT, c. 1857

Oil on canvas

74 by 145cm., 29 by 57in.

Private collection

Belly travelled to Egypt three times, in 1850, 1856, and 1857. The Gazelle Hunt was most likely worked up from sketches Belly made in 1856 during his excursion into the Sinai desert with fellow painters Narcisse Berchère and Jean-Léon Gérôme. More on this painting

Léon Auguste Adolphe Belly (1827–1877) was a French landscape painter. He was born at St. Omer, in 1827. He studied under Troyon, and in 1849 visited Barbizon where he came under the influence of Théodore Rousseau.

In 1850–1 he travelled to Greece, Syria, and the Black Sea. In 1853 he made his debut at the Paris Salon, exhibiting four landscapes of Nablus and Beirut, and of the shores of the Dead Sea, which attracted critical acclaim. In 1855–6 he visited Egypt, travelling up the Nile in the company of another painter, Edouard Imer. A second trip to Egypt in 1856 was largely spent making studies for his painting Pilgrims going to Mecca, now in the Musée d'Orsay.

As well as his paintings of Middle Eastern subjects he painted portraits and landscapes of Normandy and the Sologne throughout his career, and in 1867 bought land at Montauban. He died in Paris in 1877. More on Léon Auguste Adolphe Belly

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01 Painting by the Orientalist Artists in the Nineteenth-Century, with footnotes, 66

Frederick Arthur Bridgman, 1847 - 1928, AMERICAN

STREET IN ALGERIA, c. 1882

Oil on canvas

87 by 137cm., 34¼ by 54in

Private collection

Street in Algeria amply demonstrates Frederick Arthur Bridgman’s first-hand knowledge of North African life, and the proto-cinematic, highly finished compositions he painted at the height of his career. The work conveys a mood of quiet contemplation, as a rider takes a refreshing drink while conversing in the street, the woman next to him wearing a colourful gandoura dress. More on this painting

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

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01 Painting by the Orientalist Artists, with footnotes, 65

Frederick Arthur Bridgman, 1847 - 1928, AMERICAN

YOUNG WOMAN IN A WHITE TURBAN

Oil on canvas

27 by 23cm., 10½ by 9in.

Private collection

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

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01 Painting by the Orientalist Artists, with footnotes, 64

Hassan El Glaoui, (1924-2018)

Fantasia

Mixed media

103.5×73 cm

Private collection

Fantasia is a traditional exhibition of horsemanship in the Maghreb performed during cultural festivals and to close Maghrebi wedding celebrations. "Fantasia" is an imported name, the actual traditional term used is lab el baroud.

The performance consists of a group of horse riders, all wearing traditional clothes, who charge along a straight path at the same speed so as to form a line, and then at the end of the charge (about two hundred meters) fire into the sky using old muskets or muzzle-loading rifles The difficulty of the performance is in synchronizing the movement of the horses during acceleration of the charge, and especially in firing the guns simultaneously so that one single shot is heard. The horse is referred to as a fantasia horse and are of Arabian, Andalusian or Barb stock. More on Fantasia 

Hassan El Glaoui (1924–2018) was a Moroccan figurative painter best known for his depictions of fantasia horsemen. El Glaoui was born in Marrakesh, Morocco, to the last Pasha of Marrakesh, Thami El Glaoui. The artist credited British Prime Minister Winston Churchill with convincing his powerful father to let him pursue painting as a career, particularly after a 1943 meeting when the Pasha sought and received Churchill's opinion of his son's paintings. The son was the scion to a 300-year-old dynasty over the Berbers, but went into exile following his father's death, with which his family's wealth was confiscated and Hassan El Glaoui himself jailed. He moved to a suburb of Paris upon his release. Beginning in the early 1950s, El Glaoui trained in Paris at the École des Beaux-Arts. He returned to Morocco after 15 years, in 1965. His first show was held under a tent in Morocco.

His paintings follow the Moroccan figurative tradition, and his main subjects are military horses and their riders. He rose to prominence in the 1980s with his modernist figurative paintings of fantasia horsemen and landscapes. The artist was later exhibited widely in Europe and the United States, among other places. He held solo shows in Paris (1950), New York (1952, 1967), London (1960), Brussels (1969), and Casablanca, and his works are collected in the Royal Palace Collection in Fez, Morocco, and the Parliament Collection in Rabat.[6] In exile in New York, he stood out in his djellaba and retained his polite demeanor.

El Glaoui died on June 21, 2018 in Rabat, aged 93. More on Hassan El Glaoui

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01 Painting by the Orientalist Artists in the Nineteenth-Century, with footnotes, 63

Henri Emilien Rousseau, 1875 Le Caire, Provence - 1933 Aix-en-Provence

THE SULTAN FROM MOROCCO IN THE ACCOMPANIMENT OF A RIDER

Oil on mahogany. 

20 x 16 cm.

Private collection

Henri Rousseau Henry, Emilien Rousseau (Cairo 1875 - Aix-en-Provence in 1933) is an Orientalist painter. A pupil of Jean-Léon Gérôme at the Beaux Arts in Paris, he won the second Grand Prix de Rome in 1900 and a travel grant at the Salon of French Artists. He traveled to Belgium, the Netherlands, North Africa, Spain and Italy where he admired the great masters (Rubens, Rembrandt, Velasquez, Murillo, the Titian, Raphael etc ...)

After this initiatory journey, he settled in Versailles and set up his studio at the Villa des Arts in Paris. In 1919 he moved to Aix in Provence with his large family (seven children). Knight of the Legion of Honour in arts. His work  is dedicated to Tunisia, Algeria and especially Morocco, Provence and the Camargue remained its anchor points. His success was with a bourgeois and wealthy clientele, where he sold his work at numerous exhibitions in Paris, Brussels, Stockholm, Marseilles. More Henri Rousseau

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01 Painting by the Orientalist Artists in the Nineteenth-Century, with footnotes, 62

DELACROIX EUGÈNE, (1798 - 1863)

Odaliske with feline

Oil on Canvas

58.8 x 73

Private collection

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." MoreFerdinand Victor Eugène Delacroix

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