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 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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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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