01 Painting by Orientalist Artists, with footnotes, 54

Adolf Schreyer, 1828 - 1899, GERMAN

ARAB HORSEMAN

Oil on canvas

82.5 by 68cm., 32½ by 26¾in.

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 on Adolf Schreyer

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01 Painting by Orientalist Artist Lalla Essaydi, with footnotes, #53

Lalla Essaydi

Harem Revisited #48a, c. 2013

Chromogenic print mounted to aluminum

85 7/10 × 71 1/2 in, 217.7 × 181.6 cm

Private collection

Moroccan born photographer Lalla Essaydi explores Arab female identity by hand-painting Arabic calligraphy in henna on different surfaces such as female bodies, fabric and walls. Through her compositions, Essaydi references nineteenth century Orientalist style and rejects traditional objectified representations of Arab women. The artist critiques French painters such as Jean Auguste Dominique Ingres and Eugène Delacroix who often painted middle-eastern harems filled with eroticized Arab female bodies. Her photographs address and deconstruct the complex power structures imposed on the Arab female body by alluding to historical stereotypes. 

In her series Harem, Essaydi refers to the dangerous nature of the harem, contrasting the idealistic setting that Western artists previously depicted. The artist places her figures within the Moroccan Palace Dar El Basha and dresses them in patterns similar to the palace’s mosaics, wood carvings and stained glass. By camouflaging the women’s bodies into the background, Essaydi illustrates how women seemingly appear as another piece of décor in the room. To counter societal norms, Essaydi utilizes calligraphy and applies henna to adorn the female bodies. The text is not necessarily meant to be read or understood, but rather alludes symbolically to the restrictions faced by women in today’s societies and how they find their voice despite all imposed restrictions. Through the perspective of an Arab woman living in a Western world, Lalla Essaydi redefines Arab female identity. More on Lalla Essaydi

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01 Painting by the Orientalist Artists, with footnotes, 53

Auguste Pinchart, (1842 - 1920)

MATERNITÉ TUNISIENNE/ TUNISIAN MOTHERHOOD

Oil on canvas

27 X 35 CM (10 5/8 X 13 3/4 IN.)

Private collection

Emile Auguste Pinchart was a French painter of portraits and genre and followed the tradition of an idealised vision of life during La Belle Epoque, in the style of Tissot and his followers. His light and natural palette reflects a sentiment of delightful charm. A pupil of Gerome, he exhibited at the Salon de Paris, obtaining an honourable mention in 1883 and a third-class medal in 1884.  

Pinchart intermittently left his native France for Geneva, where he held workshops there on posters and reproductions, under the name of Atelier-Pinchart. As well as exhibiting at the Salon de Paris, he was elected a member of the Societe des Artistes Francais in 1905. More on Emile Auguste Pinchart

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01 Orientalist Painting, with footnotes, #52

Léon Cauvy, (1874 - 1933)

MARCHÉ EN ALGÉRIE/ MARKET IN ALGERIA, c. 1918

Oil on rigid cardboard

28.2 X 39.7 CM (11 1/8 X 15 5/8 IN.)

Private collection

Léon Cauvy (12 January 1874, Montpellier - 3 January 1933, Algiers) was a French Orientalist painter.

He began his studies in 1890 at the local School of Fine Arts; winning several awards for his sketches and ink wash paintings, although his interests soon turned to decorative work. Later, he went to Paris and spent some time studying with Albert Maignan at the École des Beaux-arts.

He participated in the Salon from 1901 to 1903. At the Salon of 1907, he was awarded third place. That same year, he and Paul Jouve became the first winners of the Prix Abd-el-Tif. One of the benefits of the prize was a year's stay at the Villa Abd-el-Tif in Algiers.

He was already thirty-years old and had a promising career in France, but immediately became enamored of North Africa. He exhibited fifty of his paintings at an Orientalist exhibition in Paris in 1909 and, pleased with their reception, decided to remain in Algeria. Shortly after, he became Director of the École des Beaux-arts d'Alger]; a position he held until his death.

In 1925, he was placed in charge of decorating the Algerian Pavilion at the International Exhibition of Modern Decorative and Industrial Arts. After the exhibition, his works were moved to the "Palais d’Été"; official home and headquarters for the French admirals in Algiers.

Five years later, he designed the poster commemorating one-hundred years of French rule in Algeria. Thirty-thousand copies were made and distributed worldwide. This was followed by several more poster designs, for shipping companies in the tourist trade.

In 1932, for his last major work, he created a large canvas depicting the Ouled Naïls that was shown at the Salon of the Société des Artistes Français. Since 1990, it has been on display at the Musée des Années Trente. Overall, he concentrated on scenes of daily life as opposed to the more "exotic" aspects of Arab culture. Many of his paintings have the appearance of tapestries. More on Léon Cauvy

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01 Orientalist Painting, with footnotes, #51

Charles Henri Gaston Dagnac-Rivière, (1864 - 1945)

ORIENTALES À L’OASIS/ ARAB WOMEN BY THE OASIS 

Oil on canvas

90 X 130 CM (35 7/16 X 51 3/16 IN.)

Private collection

Charles Henri Gaston Dagnac-Rivière was born in Paris on May 1, 1864 died in Moret sur Loing on January 14, 1945. -Ecole Française

A pupil of Jules Lefèvre, Gustave Boulanger and Benjamin Constant, he began in 1885 at the Salon des Artistes Français, of which he was named Sociétaire in 1898. Honorable mention at the Universal Exhibition of 1900. He then appeared at the Salon de la Société Nationale of the jury. In 1910 he took part in the Brussels exhibition. He exhibited for the last time in 1938. His paintings were acquired by the Luxembourg Museum, Draguignan, Carpentras, Dreux, Nice, Algiers, oran, Bucharest, Tunis, etc. His palette reminds one of the work of Monticelli. 

The artist was Knight of the Legion of Honor since 1932. More on Charles Henri Gaston Dagnac-Rivière

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01 Painting by the Orientalist Artists in their time, with footnotes, 79

Georges Clairin, (1843 - 1919)

PÈLERINAGE DEVANT LA MOSQUÉE/ PILGRIMAGE BY THE MOSQUE 

Oil on canvas

80 X 120 CM (31 1/2 X 47 1/4 IN.)

Private collection

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 Orientalist Painting , with footnotes, 50

Edouard Verschaffelt, (1874 - 1955)

Fantasia

Oil on canvas, signed lower right. 

35 X 47 CM (13 3/4 X 18 1/2 IN.)

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 

Edouard Verschaffelt was a Belgian orientalist painter born in Ghent in 1874 and died in Bou Saâda in 1955. He was deeply rooted in Algeria. He produced paintings of the roots and passion of this Algerian reality, so abused by orientalist exoticism. Edouard Verschaffelt took a contrary view of academic, colonial Orientalism. A pupil of the Antwerp School of Fine Arts, he carries with him, from the beginning, the indelible traces of Flemish painting and the attraction of Impressionism. 

Unlike other Orientalists attracted by North Africa, Edouard Verschaffelt came to Algeria in 1919 to flee the German occupation of Belgium during the First World War. He settles in the country and immediately felt a fascination for Bou Saâda, that he adopted from the outset. Bou Saâda was, at the time, the "stronghold" ofDinet who is a notable of the city especially He converted to Islam; which gives him an extraordinary aura to the Aboriginal population.

After the death of his wife, Verschaffelt marries an Algerian, from the tribe Ouled Sidi Brahim, who appears in the many paintings he devoted to him throughout his life. More on Edouard Verschaffelt

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