01 Paintings by the Orientalist Artists in the Nineteenth-Century, with footnotes, 40

Otto Pilny, (Swiss artist; 1866-1936)

The Slave Market, c. 1910

Oil on canvas

520 x 347 mm, 20.5 x 13.6 in

Private collection

In an art historical context, Harem scenes depicted domestic spaces for the women in the Muslim societies, the males were only included in barbaric and sexual relations. This painting presents an unspecific Middle Eastern or North African setting in which a man inspects a nude, female slave. Women were depicted with a passive sexuality, while the men were depicted as violent and disrespectful towards women. More on this painting

Otto Pilny was a Swiss painter. He was born in 1866 in Budweis and died in 1936 in Zürich. He began his artistic education in Prague and lived in Vienna for a time before ultimately settling in Zurich. He travelled to Egypt twice, making his first visit in 1875 where he stayed for two years. He was so captivated by the landscape, people and their mores that he spent the rest of his career painting Orientalist works. He was particularly taken by the Bedouin customs and often travelled with them into the desert where he could sketch the evening entertainment which he would later use on his massive canvases. His second visit to the East was from 1889 to 1892. It was at this time that his work pleased the King of Egypt, Abbas II, and he was asked to decorate the order of the Medjidije. More Otto Pilny 

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01 Paintings by the Orientalist Artists in the Nineteenth-Century, with footnotes, 39

Frederick Arthur Bridgman, 1847 - 1928, AMERICAN

DETAIL, ARAB WOMEN ON A ROOFTOP, ALGIERS BEYOND

Oil on canvas

17 7/8 by 30 3/4 in., 45.4 by 78.1 cm

Private collection

Ferdinand Victor Léon Roybet (12 April 1840, Uzès - 11 April 1920, Paris) was a French painter and engraver; best known for his historical and costume genre scenes. His father was the owner of a café and a liqueur manufacturer who moved his family to Lyon in 1846. He began by studying engraving at the École nationale des beaux-arts de Lyon. After his father's death in 1863, he took his new wife and baby to Paris, where he studied with Jean-Georges Vibert and copied the Old Masters at the Louvre.

In 1865, after some financial hardships, he presented two paintings at the Salon and, the following year, achieved success when one of his works was purchased by Mathilde Bonaparte for 5,000 francs. He then decided to concentrate on costumed figures, mostly from the 18th century, and was awarded a contract for three canvases per month at an annual salary of 25,000 francs.

Frederick Arthur Bridgman, 1847 - 1928, AMERICAN

ARAB WOMEN ON A ROOFTOP, ALGIERS BEYOND

Oil on canvas

17 7/8 by 30 3/4 in., 45.4 by 78.1 cm

Private collection

He was named a knight in the Legion of Honour in 1893 and many wealthy people among his clients; notably Cornelius Vanderbilt, who paid 100,000 francs for one of his works at the Palais de l'Industrie in 1893. He also painted many notable people in period costume.

Toward the end of his life, he turned to religious subjects, producing a tableau of 22 paintings depicting the Passion of Christ. After his death, in 1921, they were the subject of a special showing at the Salon. Six years later, the Musée Roybet Fould was established in Courbevoie by Consuelo Fould, who owned a large number of Roybet's paintings. More on Ferdinand Victor Léon Roybet

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01 Paintings by the Orientalist Artists in the Nineteenth-Century, with footnotes, 38

Ferdinand Victor Léon Roybet, 1840-1920, FRENCH

DETAIL, THE FAVORITE OF THE HAREM

Oil on panel

20 3/4 by 25 1/2 in., 52.7 by 64.8 cm

Private collection

Ferdinand Victor Léon Roybet, 1840-1920, FRENCH

THE FAVORITE OF THE HAREM

Oil on panel

20 3/4 by 25 1/2 in., 52.7 by 64.8 cm

Private collection

Ferdinand Victor Léon Roybet (12 April 1840, Uzès - 11 April 1920, Paris) was a French painter and engraver; best known for his historical and costume genre scenes. His father was the owner of a café and a liqueur manufacturer who moved his family to Lyon in 1846. He began by studying engraving at the École nationale des beaux-arts de Lyon. After his father's death in 1863, he took his new wife and baby to Paris, where he studied with Jean-Georges Vibert and copied the Old Masters at the Louvre.

In 1865, after some financial hardships, he presented two paintings at the Salon and, the following year, achieved success when one of his works was purchased by Mathilde Bonaparte for 5,000 francs. He then decided to concentrate on costumed figures, mostly from the 18th century, and was awarded a contract for three canvases per month at an annual salary of 25,000 francs.

He was named a knight in the Legion of Honour in 1893 and many wealthy people among his clients; notably Cornelius Vanderbilt, who paid 100,000 francs for one of his works at the Palais de l'Industrie in 1893. He also painted many notable people in period costume.

Toward the end of his life, he turned to religious subjects, producing a tableau of 22 paintings depicting the Passion of Christ. After his death, in 1921, they were the subject of a special showing at the Salon. Six years later, the Musée Roybet Fould was established in Courbevoie by Consuelo Fould, who owned a large number of Roybet's paintings. More on Ferdinand Victor Léon Roybet

Please visit my other blogs: Art Collector, Mythology, Marine Art, and The Canals of Venice

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01 Paintings by the Orientalist Artists in the Nineteenth-Century, with footnotes, 13

Sir William Russell Flint, R.A., P.R.W.S., 1880-1969

JASMIN

Watercolour and tempera on paper laid down on panel

33 by 61cm., 13 by 24in.

Sir William Russell Flint (4 April 1880 – 30 December 1969) was a Scottish artist and illustrator who was known especially for his watercolour paintings of women. He also worked in oils, tempera, and printmaking. He was born in Edinburgh then educated at Daniel Stewart's College and Edinburgh Institution. From 1894 to 1900 Flint apprenticed as a lithographic draughtsman while taking classes at the Royal Institute of Art, Edinburgh. From 1900 to 1902 he worked as a medical illustrator in London while studying part-time at Heatherley's Art School. He furthered his art education by studying independently at the British Museum. 

Flint was elected president of Britain’s Royal Society of Painters in Watercolours (now the Royal Watercolour Society) in 1936 to 1956, and knighted in 1947. More on Sir William Russell Flint

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01 Paintings by the Orientalist Artists in the Nineteenth-Century, with footnotes, 36

Raphael von Ambros, 1845-1895, AUSTRIAN

THE BAKER'S SHOP, CAIRO, c. 1889

Oil on panel

38.5 by 47cm., 15¼ by 18½in.

Private collection

Von Ambros established his reputation as a masterful observer of scenes of everyday life in Cairo, painted with the greatest attention to verisimilitude and detail.  

Here,  a woman wearing a black niqāb and a lapis lazuli necklace serves refreshments of freshly baked Egyptian flat bread known as aish baladi and bowls of milk or water bread to passers-by. Opening on to the street, her stall offers other local produce, including eggs and vegetables.


Von Ambros settled in Paris where he found a ready market for his Egyptian subjects. Inspired by his first hand observations during his travels, he was aided by sketches and no doubt by photography. More on this painting

Born in Prague, Raphael von Ambros was a pupil of Hans Makart (1840-1884) at the famous Vienna Academy, where he would have studied alongside an extraordinary generation of Orientalist painters such as Jean Discart (French, 1856-1944), Ludwig Deutsch (1855-1935) and Rudolf Ernst (1854-1932). Like his contemporaries, Ambros found the perfect audience for his Cairo street scenes at the Paris Salon, where he exhibited from 1887. More on Raphael von Ambros

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01 Paintings by the Orientalist Artists in the Nineteenth-Century, with footnotes, 37

Paul Joanowits, 1859 - 1957, SERBIAN

BASHI-BAZOUKS BEFORE A GATEWAY,  circa 1887-88

Oil on panel

46 by 35cm., 18 by 14¾in.

Private collection

Bashi-bazouks were irregulars in the Ottoman army and hailed from lands across the Ottoman empire, from Egypt to the Balkans. The strain on the Ottoman feudal system caused by the Empire's wide expanse required heavier reliance on irregular soldiers. They were armed and maintained by the government, but did not receive pay and did not wear uniforms or distinctive badges. Because not formally trained, they could not serve in major military operations, but were useful for other tasks such as reconnaissance and outpost duty.

The two soldiers, in all their regalia, converse in an Egyptian setting, the gate topped by Mamluk carvings and flanked by East African 'Grandees' chairs', amalgams of Mamluk, Portuguese, and Indian influence. Both men are armed with Ottoman flintlock rifles from Algeria, and the standing guard smokes an Ottoman chibouk pipe with a tophane bowl. On the left, a seventeenth-century Ottoman Tulip-period Tombak ewer rests on the arm of one of the chairs. More on Bashi-bazouks

Paul Joanowits, 1859 - 1957, was born in Vršac, formerly southern Hungary and today Serbia. He studied at the Vienna Academy from 1876 to 1883 under K. L.Müller. From there he sent his first painting to the art society in Budapest, earning him a Hungarian state scholarship. Like his teacher, he painted oriental images, in Vienna and later in Munich. During the late 19th century he painted scenes of the Serbian uprising for King Alexander of Serbia. Back in Vienna, his main interest lay in painting portraits, amongst which is a picture of Emperor Francis Joseph I. Joanovitch exhibited in Vienna, Munich and Berlin and today his works can be found in museums in Belgrade, Budapest, London, Munich and Vienna. More on Paul Joanowits

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01 Painting by the Orientalist Artists of the Nineteenth-Century, with footnotes, 35

Edmund Aubrey Hunt, 1855 - 1922, AMERICAN

ARAB FANTASIA

Oil on canvas laid on panel 

37.5 by 54.5cm., 14¾ by 21½in.

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 

Edmund Aubrey Hunt, 1855-1922, was an active exhibitor. He was elected a member of the Society of British Artists in 1884, a society of which JW was President between 1886 and 1888.

JW greatly admired Hunt's work. In 1881 he wrote to Charles Deschamps: 'Now about Aubrey Hunt - I want Sir Coutts very much to see his picture - I am sure that it will be charming and really most important in the Grosvenor - His work is most brilliant and full of delightful quality - far more artistically rare than all the Ellis and Easts and Wyllies... put together'. Hunt was amongst those invited to a dinner organised by W. C. Symons to congratulate JW on becoming an Honorary Member of the Royal Academy of Munich, a dinner which was to be held at the Criterion in Piccadilly on 1 May 1889. More on Edmund Aubrey Hunt

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Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

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