01 Orientalist Painting, Gustav Bauernfeind' Recruiting of Turkish Soldiers in Palestine, with footnotes, #117

Gustav Bauernfeind (German, 1848–1904)

Jaffa, Recruiting of Turkish Soldiers in Palestine, c. 1888

Oil on canvas

58 1/2 x 110 1/4 in.

The Dahesh Museum of Art

These actual events inspired Baurnfeind’s painting the present picture, a panoramic scene that extends from the closely observed crumbling seawall at left to the ocean vista on the right, anchored in the middle by a trading ship whose sail is emblazoned with the Islamic crescent. On the seawall, Ottoman officers in modern uniform meet with a man, perhaps the provincial bureaucrat in charge of Jaffa’s conscription. By the late 19th century, the Ottoman army had been reorganized along European lines into a professional corps manned by volunteers and conscripts. Non-Muslims were allowed to pay a tax in lieu of military service. Muslims could buy exemption as well, but only at a very high price. It is likely that the desperate conscripts depicted here, some of whom are trying unsuccessfully to escape from the small boats taking them to the steamship in the distance, are poor Muslims unable to afford the exemption. More on this painting

Gustav Bauernfeind (4 September 1848, Sulz am Neckar - 24 December 1904, Jerusalem) was a German painter, illustrator and architect. He is considered to be one of the most notable Orientalist painters of Germany.

After completing his architectural studies in Stuttgart, he worked in the architectural firm of Professor Wilhelm Bäumer and later in that of Adolph Gnauth, where he also learned painting. In his earlier paintings, Bauernfeind focused on local views of Germany, as well as motifs from Italy. During his journey to the Levant from 1880 to 1882, he became interested in the Orient and repeated his travels again and again. In 1896 he moved with his wife and son all the way to Palestine and subsequently settled in Jerusalem in 1898. He also lived and worked in Lebanon and Syria.

His work is characterized primarily by architectural views of Jerusalem and the Holy Land. The paintings of Bauernfeind are mostly meticulously crafted, intricately composed and almost photographically accurate cityscapes and images of known sanctuaries in oil. In addition, he produced landscape scenes and watercolours. During his lifetime he was the most popular Orientalist painter of Germany, but soon fell into oblivion after his death. However, since the early 1980s, Bauernfeind was gradually rediscovered. At his birthplace in Sulz am Neckar, the life and work of the painter is commemorated by the Gustav Bauernfeind Museum with a large permanent exhibition. More Gustav Bauernfeind

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01 Orientalist Painting, Georges Rochegrosse's IDLE MOMENTS, with footnotes

Georges Rochegrosse, 1859 - 1938, FRENCH

IDLE MOMENTS, c. 1888

Oil on canvas

54 by 65cm., 21¼ by 25¾in.

Private collection

Georges Antoine Rochegrosse (2 August 1859 – 7 November 1938) was a French historical and decorative painter.

He was born in Versailles and studied in Paris with Jules Joseph Lefebvre and Gustave Clarence Rodolphe Boulanger. His themes are generally historical, and he treated them on a colossal scale and in an emotional naturalistic style, with a distinct revelling in horrible subjects and details.

He made his Paris Salon début in 1882 with Vitellis traîné dans les rues de Rome par la populace (Vitellius dragged through the streets of Rome by the people) (1882; Sens). He followed this the year afterwards with Andromaque (1882–83; Musée des Beaux-Arts de Rouen), which won that year's prestigious Prix du Salon. There followed La Jacquerie (1885; Untraced), Le mort de Babylone (The fall of Babylon) (1891; Untraced), The death of the Emperor Geta (1899; Musée de Picardie, Amiens), and Barbarian ambassadors at the Court of Justinian (1907; Untraced), all of which exemplify his strong and spirited but sensational and often brutal painting. In quite another style and beautiful in colour is his Le Chevalier aux Fleurs (The Knight of Flowers) (1894; Musée d’Orsay, Paris; RF 898).

He was elected an Officer of the Legion of Honour in 1892 and received the Medal of Honour in 1906 for The Red Delight. Rochegrosse also illustrated several books. Some of the drawings for these illustrations are in the Department of Prints and Drawings at the British Museum, London. He lived his final years in Algeria, but returned to Paris where he died and is buried in Montparnasse Cemetery. His wife, Marie Rochegrosse (née Leblond), had died in 1920. More on Georges Antoine Rochegrosse

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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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