The Chase, depicts a group of Bedouin warriors in full gallop charging through the desert landscape. The rapidity and nervous quality of the brushstroke emphasizes the forward momentum of the riders; the vivid red cloak of the rider in the center identifying him as the leader…
One of the best known legends of the Alhambra was that of the three captive princesses, in which a tyrannical Moorish king fathered beautiful triplet daughters, Zayda, Zorayda, and Zorahayda, by his young Spanish wife, whose Christianity he had forced her to renounce. To protect them from suitors when they became of “a marriagable age,” as Irving describes it, the king imprisoned the three princesses in a tower in a palatial room, connected to the world beyond only by a window with a view across a ravine toward the gardens of the Generalife on a nearby hill. Entranced by three captive Christian Spanish cavaliers, whom they could see from their window, the princesses eventually conspired with their duenna to elope with the virile and handsome young men, as they themselves fled their Muslim captors. At the last moment, one princess decided to remain behind, as her two sisters lowered themselves out of the great window on a rope ladder and galloped off with their suitors to a new life in Christian Spain. Tragically, the third princess, too timid to join her sisters in escape, pined away in the tower and died at an early age. More on this painting
Edwin Lord Weeks (1849 – 1903) was an American artist. Weeks was born in Boston, Massachusetts in 1849. His parents were affluent spice and tea merchants from Newton, a suburb of Boston, and as such they were able to finance their son’s youthful interest in painting and travelling. As a young man Weeks visited the Florida Keys to draw, and also travelled to Surinam in South America. His earliest known paintings date from 1867 when he was eighteen years old, although it is not until his Landscape with Blue Heron, dated 1871 and painted in the Everglades, that Weeks started to exhibit a dexterity of technique and eye for composition—presumably having taken professional tuition.
In 1872 Weeks relocated to Paris, becoming a pupil of Léon Bonnat and Jean-Léon Gérôme. After his studies in Paris, Weeks emerged as one of America’s major painters of Orientalist subjects. Throughout his adult life he was an inveterate traveler and journeyed to South America (1869), Egypt and Persia (1870), Morocco (frequently between 1872 and 1878), and India (1882–83).
Weeks died in Paris in November 1903.[2] He was a member of the Légion d’honneur, France, an officer of the Order of St. Michael, Germany, and a member of the Munich Secession. More on Edwin Lord Weeks
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In the present painting the stand of the orange seller is placed just outside the Bab Zuwayla, the Southern Gate of Cairo’s Fatimid enclosure. Looking in through the archway, on the right one can see the Sabil-Kuttab of Nafisa Bayda (1796). On the left, there is an indistinct rendering of the facade of the Mosque-Mausoleum of Sultan Mu’ayyad, 1415-20.
Its name comes from Bab, meaning “gate”, and Zuwayla, as its in the Western Gate of the city that had a trade route for overland travelers. More on this painting
Bab Zuweila is one of three remaining gates in the walls of the Old City of Cairo. It was also known as Bawabbat al-Mitwali during the Ottoman period. It is considered one of the major landmarks of the city and is the last remaining southern gate from the walls of Shia Islamic Fatimid Cairo in the 11th and 12th century. More on Bab Zuweila
Nafisa al-Bayda began her life as a slave and then was married in the mid 1700s to a man of power in the state named Ali Bey. Afterwards, she married the wealthy Murad Bey who was at first a Mamluk, but then later rose to power in 1784 and became the leader of the resistance against the Napoleon Bonaparte invasion.
Lady Nafisa al-Bayda, meaning the white one, was a woman of beauty, wealth, charity and known to be of great culture. She is also a symbol for womens participation in those days to the political life. During her husbands resistance, she played a major role in helping him acting as an intermediate between him and Napoleon. More on Lady Nafisa al-Bayda
Georg Macco (23 March 1863, Aachen – 20 April 1933, Genoa) was a German landscape painter and illustrator, associated with the Düsseldorfer Malerschule. He is primarily known for his Orientalist works.
He was inspired by stories of his great-great-uncle, the history and portrait painter Alexander Macco, who painted a portrait of the Queen of Prussia and was a close friend of Beethoven and Goethe. His artistic career began at the Kunstakademie Düsseldorf in 188o, where he studied with Eugen Dücker and Johann Peter Theodor Janssen until 1887. During this time, he also contributed illustrations to Die Gartenlaube and drawings of coats-of-arms for his brother, Hermann Friedrich Macco, who was an historian and genealogist.
He moved to Munich to further his studies and used that city as a base for his numerous travels, beginning with mountainous regions from Italy to Spitsbergen. Later, he travelled throughout the Mediterranean region, visiting such then-exotic locations as Istanbul, Baalbek, Jerusalem, Cairo and the vicinity of Mecca. The works he produced as a result of these travels would eventually become his most popular and sought after.
His works may be seen at the Kunstmuseum Düsseldorf, the Suermondt-Ludwig-Museum in Aachen, the Rudolfinum in Prague and the Alpines Museum in Munich. Some of his works in Aachen were previously on the “Schattengalerie” (shadow gallery) list of works looted by the Nazis during World War II. Other works, not yet displayed, have been uncovered at the Simferopol Art Museum. More on Georg Macco
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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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‘In this illustrious piece of architecture, the artist has introduced a feeling, poetry and effect, which are among the highest attributes of genius. And yet every figure and feature of the scene are studied with the most perfect accuracy. The sun sets on the Libyan hills and, on the lower grounds, tinging them with a pervading glow of ruddy light, which is marvellously beautiful; and on the left is a sheet of water, deliciously reflecting the cool against the warm colour, and hemmed in by straight lines, so as to be as fine a contrast to the rugged and irregular shapes of the mountains. A splendid work.’ (Literary Gazette, 10 May 1845, p. 298)
In 1845 when his reputation was at its zenith, Roberts exhibited the present picture, one of his largest paintings to be shown at the Royal Academy. Its full title was given in the catalogue, Ruins of the Great Temple of Karnak, in Upper Egypt, Looking Towards the Libyan Chain of Hills, Called Baban el Malouk (the Gate of the Kings) in which the Excavated Tombs of the King of Thebes — Sunset. “Karnac is one of the Five Great Temples still Left of Thebes, the Ancient Capital of Upper Egypt. Profane History is Silent in Respect to it, and Records Only its Capture by Cambyses, King of Persia, son of Cyrus the Great, in the Year 526 B.C., and of its Final Destruction by Ptolomy Lathyrus, After a Protracted Siege of Three Years, 81 B.C. More Great Temple of Karnak
David Roberts RA (b Stockbridge [now a district of Edinburgh], 24 Oct. 1796; d London, 25 Nov. 1864). Scottish painter. He was apprenticed to a house painter, then worked as a scene painter for theatres in Edinburgh and Glasgow. In 1822 he settled in London and worked at the Drury Lane Theatre with his friend Clarkson Stanfield. From 1833 he travelled widely in Europe and the Mediterranean basin and made a fortune with his topographical views.
He worked in oil and watercolour and published lavishly illustrated books, among them the six-volume Views in the Holy Land, Syria, Idumea, Arabia, Egypt and Nubia (1842–9). His work can be monotonous when seen en masse, but at his best he combines bold design with precise observation. More David Roberts…
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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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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Alfred Dehodencq (23 April 1822–2 January 1882) was a mid-19th-century French Orientalist painter born in Paris. He was known for his vivid oil paintings, especially of Andalusian and North African scenes. Dehodencq was born in Paris. During his early years, he studied at the Ecole des Beaux Arts. During the French Revolution of 1848 he was wounded in the arm and was sent to convalesce in the Pyrenees before moving to Madrid. He spent five years in Spain where he became acquainted with the works of Spanish painters Diego Velázquez and Francisco Goya which had a strong influence on his approach to painting.
In 1853 he travelled to Morocco, where for the following ten years he produced many of his most famous paintings depicting scenes of the world he encountered. Dehodencq was the first foreign artist known to have lived in Morocco for an extended number of years.
Dehodencq married Maria Amelia Calderon in 1857 in Cadiz, Spain, and they had three children. Dehodencq returned to Paris in 1863 with his wife, and was decorated with the Legion of Honour in 1870. He committed suicide on 2 January 1882 having been sick for a long time and is buried in the Montmartre Cemetery. More Alfred Dehodencq…
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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Yemaya is a major water deity from the Yoruba religion, Southwestern Nigeria and the adjoining parts of Benin and Togo. She is an orisha, a spirit. She is often syncretized with either Our Lady of Regla in the afrocuban diaspora or various other Virgin Mary figures. Yemoja is motherly and strongly protective, and cares deeply for all her children. She is said to be able to cure infertility in women. She does not easily lose her temper, but when angered she can be quite destructive and violent, as the flood waters of turbulent rivers.
Yemaya is often depicted as a mermaid, and is associated with the moon, water, and feminine mysteries. She is the protector of women. She governs everything pertaining to women. According to myth, when her waters broke, it caused a great flood creating rivers and streams and the first mortal humans were created from her womb. More on Yemoja
Yemaya and Erinle. Yemaya was truly happy Living alone at the bottom of the seas. She finally had time for herself to do whatever she pleased, which was to live peacefully-something forgot about till now with children running the kingdom and her duties.
Early one morning as she swam in the ocean, she caught a glimpse of movement that warranted her attentions. It was a handsome man , and it was none other than Inle, who was doing his usual fishing.
Erinle has all his attention of his fishing when suddenly he was surprised by a beautiful mermaid who filled him with the feeling of love. He could not explain it, and thought he was dreaming until a voice of the beautiful mermaid spoke to him saying ..
“I am Yemaya, owner of this kingdom you are fishing in. It is I that provides the fish that come to your hook. All this kingdom, which you can see is immensely large is mine.”
Yemaya confessed to Erinle that although she ruled over the vast kingdom of the seas , there where times she found herself lonely. Without hesitation Erinle offered to keep her company in her times of loneliness.
Yemaya could see she liked Erinle and she explained that she was looking for a companion and Erinle accepted her invitation without consideration.
Yemaya and Erinle started on their way to the bottom of the ocean. The handsome Erinle felt as if he was in a dream taken by Yemaya’s beauty and the vastness of her kingdom. He had never imagined a beauty as such existed in the world. More on Yemaya and Erinle
Harmonia Rosales (born 1984) was born in Chicago and grew up in Champaign, IL. She cites her parents as the spark for her interest in the visual arts. She attended Glenville State College in West Virginia.
Growing up, she was fond of many of the classic Italian Renaissance paintings. She married her high school sweetheart and conceived a daughter. After realizing that the relationship wouldn’t work out, she got a divorce and left.
Rosales works to reinterpret Renaissance masterworks by replacing Black heroines as the main subject of the painting because she says that “religion and power go hand in hand” and the colonists had used religion to “manipulate and control.” She explains the idea that a Eurocentric white male dominated heaven is all what people see and it is what everyone grows up around to the point that such a high value is placed on them. She said that she hopes to be able to empower people with art, even if it is a small group of individuals. More on Harmonia Rosales
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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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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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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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Frederick Goodall RA (London 17 September 1822–29 July 1904) was an English artist, born in 1822, the second son of steel line engraver Edward Goodall (1795–1870). He received his education at the Wellington Road Academy.
Frederick’s first commission, for Isambard Brunel, was six watercolour paintings of the Rotherhithe Tunnel. Four of these were exhibited at the Royal Academy when Frederick was 16. His first oil won a Society of Arts silver medal. He exhibited work at the Royal Academy 27 times between 1838 and 1859. He was elected Associate of the Royal Academy in 1852.
Goodall visited Egypt in 1858 and again in 1870, both times travelling and camping with Bedouin tribesmen. In order to provide authentic detail to his paintings, Goodall brought back sheep and goats from Egypt. The Egyptian theme was prominent in his work, with 170 paintings being exhibited at the Royal Academy over 46 years…
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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The girl in the present work wears an ornate Ottoman gold coin headdress with a fringe of star-shaped amulets, and a matching necklace. With her white diaphanous veil and dress, and hair braided into a bun, she is dressed for a special occasion or celebration, possibly her own wedding. The cropped composition and punctilious draughtsmanship of the present work suggest the influence of photography so evident in Gérôme’s work also.
Born in Constantinople of Greek descent, Ralli’s precocious talent came to the attention of King Otto of Greece, under whose patronage he was able to travel to Paris to enrol at the Ecole des Beaux-Arts under the tutelage of Gerome. He made his debut at the Paris Salon in 1875, and in 1900 was appointed to the jury of the Exposition Universelle. More
Théodore Jacques Ralli or Theodorus Rallis (Constantinople, 16 February 1852–2 October 1909, Lausanne) was a Greek painter, watercolourist and draughtsman, who spent most of his working life in Paris, France and in Egypt.
He painted genre works, portraits, local figures, architectural subjects, interiors with figures and animals. But he is best known for his orientalist paintings…
Eduardo Leon Garrido ( Madrid , 1856 – Caen , 1949) was a Spanish painter. He began his training at the School of Painting in Madrid and as a disciple in the workshop of Vicente Palmaroli . Thanks to a grant from the Provincial de Madrid, traveled to Paris where he attended the workshop of Raimundo Madrazo . Later he traveled to Italy , connecting in Venice with Spanish painters of the likes of Mariano Fortuny and Martín Rico . In 1905 he was appointed professor of the School of Arts and Crafts in Varennes , staying in France the rest of his life.
His style is influenced by impressionism and for some critics is reminiscent of that of Manet . His work is dedicated to traditional themes, portraits of women wearing elegant clothes of the Belle Époque and reproduction of gallant scenes. He achieved great success in his time and exhibited in Paris, London and Munich .
Some of his paintings can be seen in the Museo del Prado (Madrid), Museo Nacional de Bellas Artes (Argentina) , Bilbao Fine Arts Museum and private collections such as the Bellver Collection of Seville. More Eduardo Leon Garrido
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The Byzantine navy was the naval force of the East Roman or Byzantine Empire. Like the empire it served, it was a direct continuation from its Imperial Roman predecessor, but played a far greater role in the defence and survival of the state than its earlier iteration. While the fleets of the unified Roman Empire faced few great naval threats, operating as a policing force vastly inferior in power and prestige to the legions, the sea became vital to the very existence of the Byzantine state, which several historians have called a “maritime empire” More on the The Byzantine navy
Vasileios Hatzis or Vassileios Chatzis (Greek, 1870 – 1915) was a Greek painter who was best known for his seascapes.
Vasileios Hatzis was born in 1870 in Kastoria. His family was involved in shipping, and he spent his childhood in Patras. From 1886 to 1893 he studied at the Athens School of Fine Arts. During the Balkan Wars of 1912–13 the government assigned him to the navy, where he portrayed action scenes of the Greek fleet. He died in Athens in 1915.
Hatzis is primarily known for his seascapes, but also painted landscapes and genre scenes from the life of farmers and fishermen. His work includes both academic and en plein air styles. The influence of impressionism may be detected in his work. He first exhibited in Athens in 1899, and his works were shown in group exhibitions in Athens (1902, 1907, 1909, 1910) and Alexandria (1903, 1906). A solo exhibition was held soon after his death at the Zappeion hall in Athens that showed more than 260 works. More on Vasilios Chatzis
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Alberto Pasini (Busseto, 3 September 1826 – Cavoretto, 15 December 1899) was an Italian painter. He was enrolled at the age of 17 years, in the Academy of Fine Art of Parma, studying landscape painting and drawing. In Parma, he was helped early on by Antonio Pasini, who painted for the local nobility and collaborated with the publishing house established by Giovanni Battista Bodoni. By 1852, he exhibited a series of thirty designs, made into lithographs, depicting various castles around Piacenza, Lunigiana and Parma. He was noticed by the artist Paolo Toschi, who encouraged Pasini to travel to Paris, where Pasini first joined the workshop of Charles and Eugène Ciceri, of the so-called School of Barbizon.
In 1853 his lithograph of The Evening gained him admittance to the Paris Salon, and to the workshop of the famous Théodore Chassériau. The eruption of the Crimean War offered a new opportunity, when in February 1855, this latter painter recommended Pasini to replace him on the entourage of the French plenipotentiary minister Nicolas Prosper Bourée to Persia. Pasini accompanied him, returning through the north of Persia and Armenia before reaching the port of Trebizond. In subsequent trips, he visited Egypt, the Red Sea, Arabia, Istanbul, and Persia. Pasini parlayed his exposures during this trip into numerous highly detailed paintings of orientalist subjects. He left again for Istanbul in October 1867, summoned by the French Ambassador Bourée. He returned to Turkey in 1876 to execute the four paintings commissioned by Sultan Abdul Aziz. He was about to return to Istanbul the next year, when his patron, the Sultan, died.
In 1865, he spent some time in Cannes, painted landscapes of the Riviera. During the Franco-Prussian War of 1870, he returned to Italy, settling in Cavoretto, on the hills around Turin. He continued to travel, closer to his home, with trips to Venice and two sojourns in Spain in 1879 and 1883. More Alberto Pasini
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Rachid Talbi was born on October 29, 1967 in Beni Mellal – Morocco. He lives in Oran – Algeria.
Graduated in 1992 following higher studies at the University of Es-Senia in Oran, in the Microbiology sector. He is a self-taught artist and a member of the National Union of Cultural Arts.
After his university studies, Rachid Talbi chooses to make his gift for painting, his profession. In the 2000s, his artistic career took a flourishing turn when he became a permanent artist at the Dar El Kenz gallery in Algiers. Endowed with a very rich artistic activity, he takes part in events related to painting in the Museums, galleries and cultural places of several cities of Algeria.
He exhibits regularly at the Maghreb fair in Paris. Some of his paintings were acquired by the Embassies of France, Venezuala and the United States in Algiers as well as by the Presidency of the Algerian Republic and the City of Paris. In 2009, he received a letter of recognition from his Majesty the King of Morocco, Rachid TALBI having offered him a canvas during the Feast of the Throne.
Rachid Talbi is a contemporary figurative painter who uses all techniques to express his art: oil, watercolor, acrylic, pastel, charcoal and pencil. From its bright and colorful touch flow scenes from everyday life, portraits, fantasias, marines, still lifes …
His painting leaves no one indifferent and his notoriety is real in Algeria and Morocco. His talent explodes on social networks where he appears among the greatest contemporary painters of the Maghreb. More on Rachid Talbi
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Zaidan Gallery 