01 Work, Orientalist Artist, Alexandre Cabanel's Thamar, with footnotes #125

Alexandre Cabanel

Thamar, c. 1875

Huile sur toile/ Oil on canvas

H. 180,0 ; L. 248,0 cm.

Musée d’Orsay

In the Book of Genesis, Tamar was the daughter-in-law of Judah (twice), as well as the mother of two of his children: the twins Perez and Zerah.

Tamar is first described as marrying Judah's eldest son, Er. Because of his wickedness, Er was killed by God. By way of a levirate union, Judah asked his second son, Onan, to provide offspring for Tamar so that the family line might continue. This could have substantial economic repercussions, with any son born deemed the heir of the deceased Er, and able to claim the firstborn's double share of inheritance. However, if Er was childless, Onan would inherit as the oldest surviving son.

Onan performed coitus interruptus. His action displeased God and so, like his older brother, God killed him. At this point, Judah is portrayed as viewing Tamar to be cursed and therefore as being reluctant to give her his remaining and youngest son Shelah. Rather, he tells Tamar to wait for Shelah. However, even after Shelah has grown up, Judah still does not give Tamar to him in marriage.

After Shelah had grown up, Judah became a widower. After Judah mourned the death of his wife, he planned on going to Timnath to shear his sheep. Upon hearing this news, Tamar disguised herself as a prostitute and immediately went to Timnath which was en route to Judah's destination. Upon arriving at a place near Timnath, where two roads met, Judah saw the woman but did not recognize her as Tamar because of the veil she wore over her face. Thinking she was a prostitute, he requested her services. Tamar's plan was to become pregnant by this ruse so that she might bear a child in Judah's line, since Judah had not given her to his son Shelah. So she played the part of a prostitute and struck a bargain with Judah for a goat, secured by his staff, seal, and cord. When Judah was able to have a goat sent to Timnath, in order to collect his staff and seal, the woman was nowhere to be found and no one knew of any prostitute in Timnath.

Three months later, Tamar was accused of prostitution on account of her pregnancy. Upon hearing this news, Judah ordered that she be burned to death. Tamar sent the staff, seal, and cord to Judah with a message declaring that the owner of these items was the man who had made her pregnant. Upon recognizing these items as his security, Judah released Tamar from her sentence. Tamar, having thus secured her place in the family as well as Judah's posterity, gave birth to twins, Perez and Zerah. Their birth is reminiscent of the birth of Rebekah's twin sons. The midwife marks Zerah's hand with a scarlet cord when he emerges first from the womb, though Perez is born first. Perez is identified in the Book of Ruth as the ancestor of King David. The Genesis narrative also makes a note that Judah did not have further sexual relations with Tamar. 

According to Ethiopic tradition, Perez became the king of Persia. More on Thamar

Alexandre Cabanel (28 September 1823 – 23 January 1889) was a French painter born in Montpellier, Hérault. He painted historical, classical and religious subjects in the academic style. He was also well known as a portrait painter. According to Diccionario Enciclopedico Salvat, Cabanel is the best representative of the L'art pompier and Napoleon III's preferred painter.

Cabanel entered the École des Beaux-Arts in Paris at the age of seventeen, and studied with François-Édouard Picot. He exhibited at the Paris Salon for the first time in 1844, and won the Prix de Rome scholarship in 1845 at the age of 22. Cabanel was elected a member of the Institute in 1863. He was appointed professor at the École des Beaux-Arts in 1864 and taught there until his death.

He was closely connected to the Paris Salon: "He was elected regularly to the Salon jury and his pupils could be counted by the hundred. Through them, Cabanel did more than any other artist of his generation to form the character of belle époque French painting". His refusal together with William-Adolphe Bouguereau to allow the impressionist painter Édouard Manet and many other painters to exhibit their work in the Salon of 1863 led to the establishment of the Salon des Refusés by the French government. Cabanel won the Grande Médaille d'Honneur at the Salons of 1865, 1867, and 1878. More on Alexandre Cabanel

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06 Orientalist Paintings, The Art of War, Francesco Hayez and Moretto da Brescia's Odalisques, with footnotes, #119

After Francesco Hayez

Odalisque 1

AI Generated

nightcafe

Hayez's artistic style is clearly visible in this artwork. The artist's technique is impressive, with a masterful use of light and shadow to create a sense of depth and dimension in the figure. 

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

After Francesco Hayez

Odalisque 2

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nightcafe

The destruction of infrastructure in areas like Gaza has had devastating consequences, especially for women and girls. Existing inequalities have been exacerbated, leaving them even more vulnerable to sexual violence and exploitation. With the breakdown of social networks, their support systems have weakened, leaving them exposed to these dangers.

After Francesco Hayez

Odalisque 3

AI Generated

nightcafe

The separation from their husbands or the loss of their partners due to the cost of war has placed a heavy economic burden on women. They are often left with the sole responsibility of providing for their households, which can be a significant challenge in the midst of destruction and limited resources.

Francesco Hayez (10 February 1791 – 21 December 1882) was an Italian painter, the leading artist of Romanticism in mid-19th-century Milan, renowned for his grand historical paintings, political allegories and exceptionally fine portraits.

Hayez came from a relatively poor family from Venice. He was brought up by his mother's sister, who had married a well-off shipowner and collector of art. From childhood he showed a predisposition for drawing, so his uncle apprenticed him to an art restorer. Later he became a student of the painter Francesco Maggiotto with whom he continued his studies for three years. He was admitted to the painting course of the New Academy of Fine Arts in 1806. In 1809 he won a competition from the Academy of Venice for one year of study at the Accademia di San Luca in Rome. He remained in Rome until 1814, then moved to Naples where he was commissioned by Joachim Murat to paint a major work depicting Ulysses at the court of Alcinous. In the mid-1830s he attended the "Salotto Maffei" salon in Milan.

Francesco Hayez lived long and was prolific. His output spanned both historic paintings, and Neoclassic style grand themes, either from biblical or classical literature. He also painted scenes from theatrical presentations of his day.  More Francesco Hayez

After Moretto da Brescia

Odalisque 4

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openart

After Moretto da Brescia

Odalisque 5

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Furthermore, many women who did not have access to quality education before the conflict now lack the necessary skills and training to secure well-paying jobs. This further perpetuates the cycle of poverty and puts them and their families at risk. Desperate to provide for their loved ones, some women are forced to resort to selling their bodies for food or other resources, exposing themselves to further abuse and danger.

After Moretto da Brescia

Odalisque 6

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It is a heartbreaking reality to witness women navigating the ravaged streets, trying to avoid attacks and hoping to find someone who can provide assistance. The situation highlights the urgent need for humanitarian aid, access to education, and support for women in conflict-affected areas. Efforts should focus not only on rebuilding infrastructure but also on empowering women economically and providing them with the resources and support needed to rebuild their lives and protect their dignity.

Alessandro Bonvicino(c. 1498 – possibly 22 December 1554), more commonly known as Moretto da Brescia (the Moor of Brescia), was an Italian Renaissance painter from Brescia, where he also mostly worked. His dated works span the period from 1524 to 1554, but he was already described as a master in 1516. He was mainly a painter of altarpieces that tend towards sedateness, mostly for churches in and around Brescia, but also in Bergamo, Milan, Verona, and Asola; many remain in the churches they were painted for. The majority of these are on canvas.

He also painted a few portraits, but these are more influential. A full-length Portrait of a Man in the National Gallery, London, dated 1526, seems to be the earliest Italian independent portrait at full length, all the more unexpected as the subject, though clearly a wealthy nobleman, shows no sign of being from a princely ruling family. More on Moretto da Brescia

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02 Orientalist Paintings, The Art of War, Franz von StuGrief and Moretto da Brescia's The Civilian Massacre Continues, with footnotes, #119

After Franz von StuGrief

The Civilian Massacre Continues
AI Generated

Width: 1024, Height: 1024

Available at deviantart

As the massacre continues Civilians are caught in the crossfire. A woman is bleeding as she walks the streets of the devastated city. There is rubble everywhere. She can see what remains of what was once her home. She is searching for medical assistance. But there is non to be had. Only the caring hands of her friend Alma trying to console her.

After Moretto da Brescia

The Civilian Massacre Continues
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The devastation seems to have been going on forever. Except for the two women the streets are empty. Nobody dares venture out, nor is it safe to hide indoors as the bombs seem to fall everywhere!..

Alessandro Bonvicino(c. 1498 – possibly 22 December 1554), more commonly known as Moretto da Brescia (the Moor of Brescia), was an Italian Renaissance painter from Brescia, where he also mostly worked. His dated works span the period from 1524 to 1554, but he was already described as a master in 1516. He was mainly a painter of altarpieces that tend towards sedateness, mostly for churches in and around Brescia, but also in Bergamo, Milan, Verona, and Asola; many remain in the churches they were painted for. The majority of these are on canvas.

He also painted a few portraits, but these are more influential. A full-length Portrait of a Man in the National Gallery, London, dated 1526, seems to be the earliest Italian independent portrait at full length, all the more unexpected as the subject, though clearly a wealthy nobleman, shows no sign of being from a princely ruling family. More on Moretto da Brescia

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints, 365 Days, and Biblical Icons, also visit my Boards on Pinterest and deviantart

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01 Orientalist Painting, Jean-Léon Gérôme's Cafe House, Cairo (Casting Bullets), with footnotes, #118

Jean-Léon Gérôme (French, Vesoul 1824–1904 Paris)

 Cafe House, Cairo (Casting Bullets), c. 1884 or earlier

Oil on canvas

21 1/2 x 24 3/4 in. (54.6 x 62.9 cm)

The Metropolitan Museum of Art

While two mercenaries cast bullets and a third, seated behind them, seems to be inspecting one, others engage in revelry and a man and woman converse. Despite these apparent incongruities, the meticulous painting technique renders the scene convincing. Gérôme traveled to Egypt many times from 1855 onward. His recollections of these journeys, together with objects that he brought back to Paris, became ingredients for scenes which today might be regarded as historical fictions. The title of this work derives from the stock book of Gérôme’s dealer, who bought the painting from the artist in 1884, presumably soon after he finished it. More on this painting

Jean-Léon Gérôme (11 May 1824 – 10 January 1904) was a French painter and sculptor in the style now known as academicism. His paintings were so widely reproduced that he was "arguably the world's most famous living artist by 1880." The range of his oeuvre included historical painting, Greek mythology, Orientalism, portraits, and other subjects, bringing the academic painting tradition to an artistic climax. He is considered one of the most important painters from this academic period. He was also a teacher with a long list of students. More on Jean-Léon Gérôme

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints, 365 Days, and Biblical Icons, also visit my Boards on Pinterest and deviantart

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02 Paintings by Orientalist Artist; The Art of War, Georges Corominas' Fantasia, with footnotes #98

Georges Corominas

Fantasia à Sidi Bel Abbes, c. 2019

Oil on canvas

15 x 18.1 x 0.8 inch

Private collection

Sidi Bel Abbès is the capital of the Sidi Bel Abbès wilaya , Algeria. It is named after Sidi bel Abbass, a Muslim marabout or noble man who is buried there. It was formerly surrounded by a wall with four gates, and today is home to a university. Sidi Bel Abbès is 75 kilometers from the Mediterranean Sea. More on Sidi Bel Abbès 

Georges Corominas

Fantasia à Gardaïa, c. 2021

Oil on canvasPainting : oil

15 x 18.1 x 0.8 inch

Private collection

Ghardaïa is the capital city of Ghardaïa Province, Algeria. Ghardaïa is part of a pentapolis, a hilltop city amongst four others, built almost a thousand years ago in the M’Zab valley. It was founded by the Mozabites, an Ibadi sect of the Amazigh Muslims. 

The name of Ghardaïa has its origins in a female saint named Daïa who lived in a cave in the area before it blossomed into a town inhabited by Ibadite Muslims who came to escape persecution from Fatimite Muslims in the north. More on Ghardaïa

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

George Corominas is the son of a Spanish painter. He was born in 1945. After studying in Algeria at the National School of Fine Arts of Algiers, he returned to France in 1962 where his paintings were quickly noticed. George Corominas' work is influenced by the work of famous Spanish painters such as Goya, Murillo, Velasquez and Dali. But the painter is also inspired by English painter Turner, for his blurred technique. 

George Corominas is admired for his precise lines and for his use of colors. His pieces are harmonious, his drawings are incredibly accurate and the addressed subjects are diverse. The artist portrays personages that resemble nobility in wonderful and colorful landscapes. His paintings resemble tales, enchanting fables that lead the viewer to dream of distant lands and ancient times. George Corominas uses oïl paint, and just like Dutch painters, he makes his pigments himself. Having won many prestigious titles and awards, Georges Corominas is very popular among collectors. He is the creator of the stamp 0.60 selected by the Prince and Princess of Monaco and has done the portraits of Juan Carlos, Hassan II and Pope John Paul II. His work is exhibited all around the world. His paintings are present in the Consulate of the Royal Court of Spain, in the Vatican Museum, in the Embassy of Morocco, Japan, Middle East, the United States etc. The artist is cited in the "Dictionary Drouot Cotation" and "Akun". More on George Corominas

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01 Work, Orientalist Artist, The Art of War, Ulpiano Checa's Maghrebi Warriors, with footnotes #126

Ulpiano Fernández-Checa y Sanz (April 3, 1860 – January 5, 1916)

Maghrebi Warriors

Oil on canvas.

46 x 65 cm; 73 x 92 cm

Private collection

Estimate value as of May 2023 was €18,000-€20,000

A group of horsemen wrapped in white tunics burst into an Arab village, in whose architecture we seem to recognise the city of Fez. The galloping of the horses is animated by a tremendous brio. The din of the warriors contrasts with the peaceful life conveyed by the women hidden behind their veils and the old men sitting on the sand, oblivious to the newcomers. The Orientalist theme has here been treated by Ulpiano Checa with bold compositional ingenuity and using warm shades capable of fully immersing us in the Maghreb atmosphere.  More on this painting

Ulpiano Fernández-Checa y Sanz (April 3, 1860 – January 5, 1916), known as Ulpiano Checa, was a Spanish painter, sculptor, poster designer and illustrator. He used both impressionistic and academic techniques, and mainly painted historical subjects.

He was born in Colmenar de Oreja, Spain, and exhibited a talent for art when he was a young child. At thirteen, he met Don José Ballester, the husband of a neighbor in Colmenar, who owned the Cafe de la Concepción in Madrid. Ballester was impressed with his work and, after consultation with Luis Taberner (1844–1900), a recognized and popular artist in Madrid, Ballester decided to bring Checa and his family to the capital to begin his art studies.

In 1873, he entered the Escuela de Bellas Artes de San Fernando in Madrid, followed by study at the Spanish Academy of Fine Arts in Rome [es], where he would paint Invasion of the Barbarians (since lost in a fire) which won the gold medal at the National Exhibition of Fine Arts in 1887.

After World War I broke out, he left Paris to settle in Bagnères-de-Bigorre. Soon he moved to the nearby town of Dax where he died on January 5, 1916. Following his wishes, as expressed in his will, his remains were transferred to Colmenar de Oreja, where he was buried. His wife was later placed there beside him. More on Ulpiano Checa

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01 Painting by Orientalist Artists, The Art of War, Eugène Delacroix's Collision of the Moorish Horsemen, with footnotes #98

Eugène Delacroix (French, 1798-1863)

Collision of the Moorish Horsemen, c. 1843-1844

Oil on canvas

H: 32 x W: 39 in. (81.3 x 99.1 cm)

The Walters Art Museum

"During their military exercises, which consist of riding their horses at full-speed and stopping them suddenly after firing a shot, it often happens that the horses carry away their riders and fight each other when they collide." 

Delacroix uses fluid brush work to capture the color and movement of an Arab Fantasia, or ceremonial cavalry charge, mimicking battle, which he witnessed at the court of Sultan Abd-er-Rahmen of Morocco (1778-1859). More on this painting

Ferdinand Victor Eugène Delacroix (26 April 1798 – 13 August 1863) was a French Romantic artist regarded from the outset of his career as the leader of the French Romantic school.

As a painter and muralist, Delacroix's use of expressive brushstrokes and his study of the optical effects of colour profoundly shaped the work of the Impressionists, while his passion for the exotic inspired the artists of the Symbolist movement. A fine lithographer, Delacroix illustrated various works of William Shakespeare, the Scottish author Walter Scott and the German author Johann Wolfgang von Goethe.

Delacroix took for his inspiration the art of Rubens and painters of the Venetian Renaissance, with an attendant emphasis on colour and movement rather than clarity of outline and carefully modelled form. Dramatic and romantic content characterized the central themes of his maturity, and led him not to the classical models of Greek and Roman art, but to travel in North Africa, in search of the exotic. Friend and spiritual heir to Théodore Géricault, Delacroix was also inspired by Lord Byron, with whom he shared a strong identification with the "forces of the sublime", of nature in often violent action.

However, Delacroix was given to neither sentimentality nor bombast, and his Romanticism was that of an individualist. In the words of Baudelaire, "Delacroix was passionately in love with passion, but coldly determined to express passion as clearly as possible." More on Ferdinand Victor Eugène Delacroix

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