01 Painting by the Orientalist Artists in the Nineteenth-Century, with footnotes, 46

Giulio Rosati, (Italian, 1858–1917)

A horseman stopping at a Bedouin camp

Watercolor

53.3 x 36.2 cm. (21 x 14.3 in.)

Private collection

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.

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

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01 Painting by the Orientalist Artists in the Nineteenth-Century, with footnotes, 45

Pino Daeni

Fountain

Oil on Canvas

30 x 40 in  |  76 x 102 cm

Private collection

Pino Daeni (November 8, 1939 – May 25, 2010) was an Italian-American book illustrator and artist. He is known for his style of feminine, romantic women and strong men painted with loose but accurate brushwork. Considered one of the highest paid book illustrators of his time, he created over 3,000 book covers, movie posters and magazine illustrations. From 1960 to 1979, his work garnered several prizes and awards. During this period, he was commissioned by two of Italy's largest publishers, Mandadori and Rizzoli, for numerous book illustrations. After a visit to Manhattan in 1971, Pino's experiences of the art scene at that period led him to feel restricted in Milan, and in 1978, he moved to New York, where he believed the artistic freedom would allow him greater opportunities. In 2001, Pino's son, Massimo, began representing his artist-father, despite Pino's initial reluctance. Massimo, more known as Max, successfully grew his efforts into a profitable marketing company, helping his father expand beyond his normal gallery representation to include magazines and books. His work continues to appear in art galleries all over the world, and his Giclee prints sell into the thousands of dollars. On May 25, 2010, Pino died at the age of 70. More on Pino Daeni

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01 Paintings by the Orientalist Artists in the Nineteenth-Century, with footnotes, 44

Max Jacob (1876 - 1944)

Charge de cavaliers d’Orient/ Charge of Eastern Horsemen 

Watercolor and India ink 

20.5 x 27.5 cm 

Private collection

Max Jacob (12 July 1876 – 5 March 1944) was a French poet, painter, writer, and critic.

After spending his childhood in Quimper, Brittany, he enrolled in the Paris Colonial School, which he left in 1897 for an artistic career. He was one of the first friends Pablo Picasso made in Paris. They met in the summer of 1901, and it was Jacob who helped the young artist learn French. Later, on the Boulevard Voltaire, he shared a room with Picasso, who remained a lifelong friend (and was included in his artwork Three Musicians). Jacob introduced him to Guillaume Apollinaire, who in turn introduced Picasso to Georges Braque. He would become close friends with Jean Cocteau, Jean Hugo, Christopher Wood and Amedeo Modigliani, who painted his portrait in 1916. He also befriended and encouraged the artist Romanin, otherwise known as French politician and future Resistance leader Jean Moulin. Moulin's famous nom de guerre Max is presumed to be selected in honor of Jacob.

Jacob is regarded as an important link between the symbolists and the surrealists, as can be seen in his prose poems and in his paintings, exhibitions of which were held in New York City in 1930 and 1938.

His writings include the novel Saint Matorel (1911), the free verses Le laboratoire central (1921), and La défense de Tartuffe (1919), which expounds his philosophical and religious attitudes.

The famous psychoanalyst Jacques Lacan attributed the quote "The truth is always new" to Jacob. More on Max Jacob

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01 Paintings by the Orientalist Artists in the Nineteenth-Century, with footnotes, 43

Nathaniel Sichel, (German, 1843-1907)

The sorceress 

Oil on canvas

31 x 52in (78.7 x 132cm)

Private collection

Nathaniel Sichel's artistic career began at the Royal Academy of Art in Munich, where he was trained in the academic tradition by Julius Schrader. He continued his studies in Paris at the École des Beaux arts where he won the prestigious Prix de Rome in 1864 with a painting entitled Joseph explains the dreams of the Pharaoh. This work solidified his reputation as a painter of Orientalist and historical subjects. Among these, he is mostly known for his depictions of Oriental beauties, dressed in opulent costumes and adorned with gold coins and jewelry.

One of the finest examples of Sichel's work is evident in The sorceress; here, the artist composed a picture of female figures in a Moorish setting, dressed in sensuous and dramatic attire. The artist's depiction of the Eastern world is skillfully executed with varied patterns in the architecture, décor, carpets, and textiles, emphasized by his superior draftsmanship and adept brushwork. More on Nathaniel Sichel

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01 Painting by the Orientalist Artists in the Nineteenth-Century, with footnotes, 41

Henri Frédéric Schopin, (German, 1804-1881)

The halt of the caravan 

Oil on canvas

22 1/8 x 31 7/8in (56 x 81cm)

Private collection

Henri Frédéric Schopin was born in 1804 in the north-German city of Lübeck to French parents. His father was the sculptor Jean-Louis-Théodore Chopin, of whom very little is known. Young Henri entered the studio of Antoine-Jean Gros and at the same time followed courses at the École des beaux-arts between 1821-1831, which allowed him to compete for the Prix de Rome. He won this competition in 1831 and subsequently spent the allocated four years in Rome painting after the old masters and preparing for his debut Salon exhibition of 1835.

During his long and distinguished career, Schopin painted elaborate allegorical and historcal paintings, often referencing current events, such as Divorce entre Napoléon et Joséphine (Malmaison), Le Divorce de Joséphine (Wallace Collection) and Bataille de Hohenlinden (Versailles). A great number of his paintings were engraved by Jean Pierre Marie Jazet. More on Henri Frédéric Schopin

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01 Paintings by the Orientalist Artists in the Nineteenth-Century, with footnotes, 42

Jean-François Portaels, (Belgian, 1818-1895)

The tambourine player in repose, c. between 1840 and 1895

Oil on cradled panel

31 x 40in (78.8 x 101.6cm)

Private collection

Jean-François Portaels or Jan Portaels (3 April 1818 – 8 February 1895) was a Belgian painter of genre scenes, biblical stories, landscapes, portraits and orientalist subjects. He was also a teacher and director of the Academy of Fine Arts of Ghent and the Académie Royale des Beaux-Arts in Brussels. He is regarded as the founder of the Belgian Orientalist school. He was praised in his time as the premier painter of 'everyday elegance and feminine grace'. Through his art, teaching and his leadership of the Académie Royale in Brussels he exerted an important influence on the next generation of Belgian artists.

Portaels traveled extensively on a five-year excursion through Egypt, Algeria, Morocco, Spain, Greece, Hungary  More on Jean-François Portaels

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