01 Orientalist Painting, Guillaume Seignac's Odalisque, with footnotes, #115

Guillaume Seignac, 1870 - 1924, FRENCH

Detail; Odalisque

Oil on canvas

55.5 by 46.5cm., 22 by 18¼in

Private collection

Guillaume Seignac, 1870 - 1924, FRENCH

Odalisque

Oil on canvas

55.5 by 46.5cm., 22 by 18¼in

Private collection

An odalisque was a chambermaid or a female attendant in a Turkish seraglio, particularly the court ladies in the household of the Ottoman sultan. In western usage, the term came to mean the harem concubine, and refers to the eroticized artistic genre in which a woman is represented mostly or completely nude in a reclining position, often in the setting of a harem. More on An odalisque

Guillaum Seignac (1870–1924) was a French academic painter. He was born in Rennes in 1870, and died in Paris in 1924. He started training at the Académie Julian in Paris, where he spent 1889 through 1895. He had many teachers there, including Gabriel Ferrier, William-Adolphe Bouguereau, and Tony Robert-Fleury. In addition to his training in the academic style, much of Seignac's work displayed classical themes and style, for example, his use of diaphanous drapery covering a woman's body is reminiscent of classical style, in particular the sculptor Phidias. In 1897, Guillaume Seignac regularly exhibited at the Salon and won several honors, including in 1900 honorable mention and in 1903 a Third Class medal. More on Guillaum Seignac

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01 Orientalist Painting, Mattéo Brondy's Fantasia , with footnotes, #113

Mattéo Brondy (1866-1944)

Fantasia 

Watercolor on paper

51 X 77 CM (20 1/16 X 30 5/16 IN.)

Private collection

Fantasia is a traditional exhibition of horsemanship in the Maghreb performed during cultural festivals and for Maghrebi wedding celebrations. It is present in Algeria, Libya, Mali, Mauritania, Morocco, Niger and Tunisia. It is attested in the ancient Numidian times during which it was practiced by the Numidian cavalry. Historian Carlos Henriques Pereira stated that the North African fantasia also called barud is a modern watered down version of a Numidian military technique. 

The fantasia is considered a cultural performance and a form of martial art; it also symbolizes a strong relationship between the man (or woman) and the horse, as well as an attachment to tradition. According to Jean-Pierre Digard, it is a watered down version of the Numidian cavalry charge.

Fantasia performances usually take place during local seasonal, cultural or religious festivals. More on Fantasia

Alphonse Clément André Brondy, known as Mattéo Brondy, (April 9, 1886 in Paris -1944 in Meknes, Morocco) was a French military veterinarian and painter. He is most known for the paintings of Morocco that became travel posters. His first works, exhibited from 1909 at the Salon des Indépendants and the French Artists Salon, met with success .

Brondy was a student at the National Veterinary School of Alfort in 1889. In the same year he completed an internship at the Saumur Cavalry School . Brondy was assigned, as a veterinary assistant, in 1891. He returned to France in 1894 to enter the Académie Julian in Paris. He was then admitted to Adolphe Déchenaud's workshop.

Brondy arrived in Morocco around 1915 again as a military veterinarian. He participated in armed expeditions in the Middle Atlas and Upper Moulouya, in the northeast of Morocco. He brought back some sketches and watercolors. In 1918, Brondy moved to Meknes as a municipal veterinarian. The Berber hinterland of the city also offered varied landscapes: plains, mountains and springs. All lit by this Afro-Mediterranean light that many artists have tried to capture .

Brondy founded with other French artists living in Morocco an artistic society called the Association of French painters and sculptors of Morocco. There are twelve member artists. The group was very reserved and avoided drawing in public without the consent of the neighborhood. He spent days working in the famous stud farms in Meknes. He executed watercolors near the Bab-el-Khémis or Bab-Berdaïne markets. He carefully noted the architecture of historic monuments. Brondy was the president of the tourist office of the city of Meknès and therefore the great promoter He made many splendid posters. These posters are not forgotten and continue to be published in the form of postcards and used as illustration for books. More on Mattéo Brondy

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01 Orientalist Painting, Adolf Schreyer's The advance, with footnotes, #112

Adolf Schreyer (GERMAN, 1828-1899)

The advance

Oil on canvas

81.5 x 65cm (32 1/16 x 25 9/16in)

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 Orientalist Painting, Narcisse Berchère's Horseman at the camp, with footnotes, #110

Narcisse Berchère, (Etampes 1819- Asnières 1891)

Horseman at the camp

Oil on panel a non-parquet board

14 x 10 cm

Private collection

Narcisse Berchère (11 September 1819, Étampes - 20 September 1891, Asnières-sur-Seine was a French painter and engraver; best known for his Orientalist works.

His initial studies were at the École des Beaux-Arts de Paris, with Charles-Caïus Renoux [fr]. Later, he worked in the studios of Jean-Charles-Joseph Rémond.

He spent much of his working life in Paris; making extended trips to Provence and Spain, and specializing in landscapes. He visited Egypt, Asia Minor and the Greek archipelago from 1849 to 1850 and sent his first paintings to the Salon from Greece.

In 1856, he returned to Egypt and crossed the Sinai desert with his friend, the painter Léon Belly. They were then joined by Jean-Léon Gérôme and Auguste Bartholdi; setting out on an expedition up the Nile Valley that October.

Four years later, Ferdinand de Lesseps entrusted him to create a series of paintings, tracing the different stages in the excavation of the Suez Canal. During this project he maintined a detailed correspondence with Eugène Fromentin. Their letters were published in 1863. He was invited to attend the inaugural ceremonies at the Canal in 1869.

After many years of travelling throughout North Africa and the Middle East, he settled in Asnières-sur-Seine. Many of his sketches and paintings are preserved at the Musée municipal d'Étampes [fr], in Essonne. More on Narcisse Berchère

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01 Orientalist Painting, Henri Adrien Tanoux's Tambourine odalisque, with footnotes, #109

Henri Adrien Tanoux, (Marseille 1865 - Paris 1923)

Tambourine odalisque, c. 1914

Oil on original canvas

46 x 55.5 cm

Private collection

An odalisque was a chambermaid or a female attendant in a Turkish seraglio, particularly the court ladies in the household of the Ottoman sultan. In western usage, the term came to mean the harem concubine, and refers to the eroticized artistic genre in which a woman is represented mostly or completely nude in a reclining position, often in the setting of a harem. More on An odalisque

Henri Adrien Tanoux ( Marseille , 18 October as as 1865 - Paris , 1923 ) was a French painter. He dedicated himself to landscapes , nudes and oriental scenes .

He studied at the Academy of Fine Arts in Paris where he was a pupil of Léon Bonnat . He exhibited his works regularly at the Paris Salon and received an honorable mention at the Universal Exhibition in Paris in 1889. More on Henri Adrien Tanoux 

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01 Orientalist Painting, Henri-Léopold Lévy's Phoenix, with footnotes, #108

Henri-Léopold Lévy, French, 1840-1904

Le phoenix

Oil on canvas 

28 ⅞ by 17 ½ in.; 73.3 by 44.5 cm

Private collection

In Ancient Greek folklore, a phoenix is a long-lived bird that cyclically regenerates or is otherwise born again. Associated with the sun, a phoenix obtains new life by arising from the ashes of its predecessor. Some legends say it dies in a show of flames and combustion, others that it simply dies and decomposes before being born again. Most accounts say that it lived for 500 years before rebirth. More on the Phoenix

Henri-Léopold Lévy (23 September 1840, Nancy - 29 December 1904, Paris) was a French painter of Jewish ancestry, known primarily for mythological and Biblical subjects.

His artistic education began at the École des beaux-arts de Paris. His first exhibit at the Salon came in 1865, where he displayed his portrayal of Hecuba. It brought him a first-class medal. Two years later, he received an award for his version of Jehoash of Judah. In 1869 he was given a prize for his "Hebrew Captive Weeping at the Ruins of Jerusalem". In 1872, after showing his portrait of Herodias, he was named a Chevalier in the Legion of Honor.

Despite being a Chevalier, his career suffered from the anti-Semitism that swept France after the Dreyfus Affair. He was, however, able to continue participating in the Salon until 1903. During this time, he took an extended trip to the Middle East with his friend, Fromentin, and produced several Orientalist works. He also served as a teacher. More on Henri-Léopold Lévy

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01 Orientalist Painting, Edwin Longsden Long's THE IONIAN POTTERY SELLER, with footnotes, #107

Edwin Longsden Long, British, 1829 - 1891

THE IONIAN POTTERY SELLER, c.1881

Oil on canvas

46 by 35⅛ in.; 116.8 by 89.4 cm

Private collection

 Ionia is the name given during ancient times to the central region of Anatolia ’s Aegean shore in Asia Minor, present-day Turkey, one of the most important centres of the Greek world. On the islands and cities of Ionia the style of pottery was not as rigorously geometric as it was in the Dorian ceramic from the continent.  Some Ionian schools of archaic pottery such as Corinth and Rhodes were highly influence by Eastern styles, the so called Orientalizing style. More on Ionian Pottery

Edwin Longsden Long RA (12 July 1829 – 15 May 1891) was an English genre, history, biblical and portrait painter. Long was born in Bath, and was educated at Dr. Viner's School in Bath. Adopting the profession of a painter, Long came to London and studied in the British Museum. He was subsequently a pupil in the school of James Mathews Leigh in Newman Street London, and practiced first as a portrait artist painting Charles Greville, Lord Ebury and others.

Long made the acquaintance of John Phillip RA, and accompanied him to Spain, where they spent much time. Long was greatly influenced by the paintings of Velasquez and other Spanish masters, and his earlier pictures, such as 'La Posada' (1864) and 'Lazarilla and the blind beggar' (1870), were painted under Spanish influence. His first important pictures were 'The Suppliants' (1872) and 'The Babylonian marriage market' (both subsequently purchased by Thomas Holloway). In 1874, he visited Egypt and Syria, and subsequently his work took a new direction. He became thoroughly imbued with middle-eastern archaeology and painted oriental scenes like 'The Egyptian Feast' (1877), 'The Gods and their makers' (1878) etc.

Long was elected an associate of the Royal Academy in 1870 and an academician (RA) in 1881. His pictures suited the taste and appealed to the religious sentiment of a large portion of the public, and their popularity was increased by a wide circulation of engravings. He consequently determined to exhibit his next pictures in a separate gallery of his own in Bond Street, London and there in 1883, and the following years, his 'Anno Domini' and 'Zeuxis at Crotona' met with great commercial success.

Long died from pneumonia resulting from influenza, at his home, "Kelston" in Netherhall Gardens, Hampstead, on 15 May 1891, in his sixty-second year. He was buried in West Hampstead Cemetery. More on Edwin Longsden Long

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