Bathing Scene

Bathing Scene



Jean Léone Gérôme
Bathing Scene 1881
Signed ?
oil on canvas/huile sur toile
Size ? in (? cm)
Location:as of 2007 ?
French Orientalist

Almeh

Almeh


Jean Léone Gérôme
Almeh
Signed and dated upper right, 1882
oil on canvas/huile sur toile
Size 18.25 x 15 in (46.3 x 38.4cm)
Location:as of 2007 in Private Collection
French Orientalist

The End of the Session

Jean Léone Gérôme
The End of the Session ?/ La fin de la Seance
Signed ?
oil on canvas/huile sur toile
Size ? in( 48.3 x 40.6 cm)
Location:as of 2007 in Private Collection
French Orientalist

Arnaute and Dogs

Arnaute and Dogs/Arnaute et Chiens
Signed J.L. GEROME
Oil on canvas
13 x 10 inches (33 x 25.4 cm.)
Location as of 2007 ?
French Orientalist

This typical orientalist work from the high period of Gérôme’s career (widely regarded as the two decades after 1860) depicts one of the colorful irregulars of the Ottoman army, Albanian warriors known as arnauts or “bashi-bazouks,” probably in a Cairene setting. As in Arnauts of Cairo of 1861 (exhibited in Eastern Encounters at The Fine Art Society, London, 1978 no. 32), the stone gate provides a resting place for the man and his dogs, exhausted in the heat, perhaps after a mounted hunting expedition.

Selling Slaves

Selling Slaves in Rome

Jean Léone Gérôme
Selling Slaves in Rome/Vente désclaves à Rome
Signed ?
oil on canvas/huile sur toile
Size 64 x 57 cm
Location as of 2007 Walters Art Gallery, Baltimore, Maryland
French Orientalist

Gerome with his Model

Prayer in the Mosque

Prayer in the Mosque



Jean Léone Gérôme
Prayer in the Mosque
Signed lower left, 1892
oil on canvas/huile sur toile
Size 25.75 x 36.5 in (65.5 x 92.7 cm)
Location:as of 2007 at Art Gallery, University of Notre Dame, Indiana
French Orientalist

The Cock Fight

Artist: Jean Léone Gérôme
Title: The Cock Fight/ Jeunes Grecs faisant battre des coqs
Signed lower left, 1846
Medium: Oil on canvas/huile sur toile
Size: 56.5 x 21.5 in (143 x 204cm)
Location:as of 2007 at Musee d'Orsay, Paris
French Orientalist

Gérôme started work on this canvas in 1846 after he had failed to win the Prix de Rome. Having missed his chance at entry to the Villa Medici, he feared a new rebuff and hesitated to exhibit his "Young Greeks Attending a Cock Fight". But, encouraged by his master, the academic painter Delaroche, he finally entered his painting in the Salon of 1847, where it was a great success.

In the "Neo-Grec" style, characterized by a taste for meticulous finish, pale colours and smooth brushwork, Gérôme portrays a couple of near-naked adolescents at the foot of a fountain. Their youthfulness contrasts with the battered profile of the Sphinx in the background. The same opposition is found between the luxuriant vegetation and the dead branches on the ground, and in the fight between the two roosters, one of which is doomed to die.

In the chorus of praise for the work, few commentators noticed the artist's disillusioned attitude. Hardly anyone but Baudelaire criticized the canvas, calling Gérôme the leader of the "meticulous school", and finding him weak and artificial. The public preferred the opinion of Théophile Gautier who saw in The Cock Fight "wonders of drawing, action and colour". At the age of twenty-three, Gérôme therefore made a brilliant entry into the art world and thereafter pursued the official career he had planned for himself, punctuated with honors and rewards.

Source: Musée d'Orsay

Phryne before the Areopagus

Phryne before the Areopagus

Artist: Jean Léone Gérôme
Title: Phryne before the Areopagus/ Phryné devant l'Aréopage 1861
Signed lower left
Medium: Oil on canvas/huile sur toile
Size: 31.5 x 50.5 in. (80.5 x 128 cm)
Location: as of 2007 at Hamburg Kunsthalle, Germany
French Orientalist

Detail


In my ARC book the colors of the robes are a more saturated red. I shall look for a better scan of this image.

In December 2007 I went to Hamburg and saw this painting at the Kunsthalle. I was struck by how smooth the surface was. When one looks at a Gerome it is very hard to figure out weather the painting was done on a canvas or a panel, since his handling of paint is such that no brush strokes or elevation of paint is visible.

At first glance the men in their red robes seem to be all wearing the same colored robes, yet Gerome changes the hues ever so slightly, to achieve a sense of depth and the illusion of space in a fairly narrow pictorial space. The closest figure to the viewer has the most saturated red garment on. This saturation decreases with each robe he paints and becomes not only more muted but also darker in value with each new person as they take their place in this confined space.

Another trick he employs to create a sense of space is that he lavishes great detail in both facial features and treatment of garments and props on those in the foreground. As I studied the paintings I noticed that he each new row of individuals was treated with decreasing attention to detail.

After the Bath

After the Bath

After the Bath
Signed lower right J.L. Gérôme 1881
oil on canvas/huile sur toile
Size 32.5 x 26.25 in
Location:as of 2007 in Private Collection
French Orientalist


The Sotheby's catalogue 1999 description of this work notes the following about the women in the painting:

"Gérome chooses not to portray them in erotic or 'splendid' poses. Instead, he observes the movement of muscle and flesh as the body turns, and records the manner in which the light falls on the skin; for the artist, the human body itself was a thing of beauty. The structure of the bones, the mechanism of the musculature, and the flexibility of the skin were wonders, beauties of nature to be observed, studied and reported. Consequently, both he and his friend Edgar Degas sometimes placed their models into awkward positions to reveal, in full splendor, the anatomy of the human body."

The Slave Market

The Slave Market

The Slave Market
Signed lower right Jean Léone Gérôme 1866
oil on canvas/huile sur toile
Size 33.25 x 25 in (84.3 x 63 cm)
Location:as of 2007 at Francine Clark Art Institute, Williamstown
French Orientalist

The Arab slave trade refers to the practice of slavery in West Asia, North Africa, East Africa, and certain parts of Europe (such as Sicily and Iberia) during their period of domination by Arab leaders. The trade mostly involved North and East Africans and Middle Eastern peoples (Arabs, Berbers, Persians, etc.). Also, the Arab slave trade was not limited to people of certain color, ethnicity, or religion. In the early days of the Islamic state—during the 8th and 9th centuries—most of the slaves were Slavic Eastern Europeans (called Saqaliba), people from surrounding Mediterranean areas, Persians, Turks, other neighbouring Middle Eastern peoples, peoples from the Caucasus Mountain regions (such as Georgia and Armenia) and parts of Central Asia (including Mamluks), Berbers, and various other peoples of varied origins as well as those of Black African origins. Later, toward the 18th and 19th centuries, slaves increasingly came from East Africa
Source:Wikipedia

Muezzins call to Prayer

Artist: Jean Léone Gérôme
Title: Muezzins call to Prayer
Signed lower left Jean Léone Gérôme 1879
Medium: oil on canvas/huile sur toile
Size: 139 x 26 in (91.4 x 66 cm)
Location:as of 2007 in Private Collection
French Orientalist

Public Prayer in the Mosque of Amr

Artist: Jean Léone Gérôme
Public Prayer in the Mosque of Amr 1870
Signed upper left on beam
Medium: Oil on canvas/huile sur toile
Size:35 x 29.5 in (89 x 75 cm)
Location: as of 2007 at the Metropolitan Museum of Art, New York
French Orientalist

Gérôme did many mosque paintings such as:
Interior of a Mosque
1.Prayer in the Mosque
2. Prayer in the Mosque
Sermon in the Mosque, 1903
Three figures praying in the Corner of a Mosque
Leaving the Mosque
Prayer in the Mosque of Caid Bey in Cairo, 1895
The Muessin, the Call to Prayer, 1879
Prayer on the Rooftops of Cairo, 1865
The Muezzin, Call to Prayer 1866
Young Greeks at the Mosque, 1865

Here is an image of the Mosque interior today
Photo take by Howard

Jean Léon Gérôme in his studio

Photo of Jean_Léon_Gérôme

This photo of Jean Léon Gérôme was taken in his studio. I have no further infortmation about this photo at the moment.

'Pygmalion' is on the upper left and the 'The Pipelighter' on the right.

An Arab and his Dogs, 1875

Artist: Jean Léone Gérôme
Title: An Arab and his Dogs, 1875
Signed right center
Medium: Oil on Canvas/huile sur toile
Size: 21.75 x 14.75 in. (55 x 37.5 cm)
French Orientalist

Because of their loose clothing men wore their pistols in holsters around their waist rather than on their hips.

Horse Head in Profile

Tete de cheval en profil
Originally uploaded by Portrait Artist - Enzie Shahmiri

Horse Head in Profile/Tete de cheval en profil
9 x 12 in oil sketch

An Almehe, 1882

Artist: Jean Leone Gerome
Title: An Almeh, 1882
Signed upper right Jean Leone Gerome, 1882
Medium: Oil on Canvas/huile sur toile
Size: 18.25 x 15 in (46.3 x 38.4 cm)
French Orientalist

An Egyptian dancing girl; an Alma.

Gérôme exhibition is being planned for 2010-2011

Self Portrait

Artist: Jean Léone Gérôme
Title: Self Portrait 1866
Signed left center J.L. Gerome
Medium: Oil on canvas/huile sur toile
Size: 12 x 16 in (40.6 x 30.5 cm)
French Orientalist

A great Gérôme exhibition is being planned for 2010-2011. It will start at the d’Orsay Museum in Paris, and move afterwards to the Walters Museum in Baltimore and the Getty Museum in Los Angeles. It will contain three sections: painting (about 75 examples), sculpture, and a large presentation of Gérôme’s use of photography. The exhibition will be most grand in Paris, for some exhibits may not travel; and it will be a bit different in each venue. A grand, illustrated catalogue in French and English is planned for the exhibition. When the dates of the various venues are know, they will be announced in this web-site; when the catalogue is available, this site will tell you how to order it, and what it will cost plus P & H. I will be a consultant for the exhibition which will originate in France. Just the fact that an international exhibition to honor Gérôme is in the works indicates that the wind has changed with the installation of younger, fresher administrations in both institutions. In 1904, the centennial of Gérôme’s death, there was not even a small exhibition in France, or anywhere.

Please check Gerald Ackerman's Website for updates and where to find books on Orientalists

The Whirling Dervish, 1899

Whirling Dervish


The Whirling Dervish, 1899
Signed lower left, 1899
oil on canvas/huile sur toile
29 x 37.5 in. (73 x 95 cm)
French Orientalist

The setting has been precisely identified from an old photograph as a qubbah near the Nile that has long since been demolished.

Madame de la Pagerie

Madame de la Pagerie,?
oil on canvas/ huile sur toile
30 3/8 x 25 (77.2 x 63.5 cm)
2007 Fine Art Museum San Fransisco
Signed right center 1875
French Orientalist

The Smoker

Signed?
The Smoker (Le Fumeur), ?
Etching
12.6 x 10 cm (image)
2007 Fine Art Museum San Fransisco
French Orientalist

Head of a Negro Woman of Hedjaz

Signed ?
Head of a Negro Woman of Hedjaz/Tete de negress du Hedjaz 1860
Etching
21.4 x 15.6 cm (image)
2007 Fine Arts Museum San Fransisco

Head of a Bearded Man

Signed ?
Head of a Bearded Man
red chalk on paper/
17.4 x 16 cm (sheet)
2007 at Fine Arts Museum in San Fransisco
French Orientalist

Arnout Chief Praying Figure Study

Signed ?
Figure Study for the painting, "La Priere Chez un Chef Arnout.", 1857
graphite on off-white wove
35.7 x 22.8 cm (image)
2007 at Fine Art Museum San Fransisco
French Orientalist

Moorish Bath

signed lower left Jean Leone Gerome, 1890
Moorish Bath, circa 1890
oil on canvas/huile sur toile
29 x 23.5 in (73.6 x 32.5 cm)
2007 at Palace of Legion of Honor in San Fransisco
French Orientalist

Biography

Artist: Jean Leone Gerome
Title: Self-Portrait/Autoportait
Medium: Oil on Canvas
Size: 40.6x30.5cm
Location: 2000 Aberdeen Art Gallery, Aberdeen

Born May 10, 1824(1824-05-10)in Vesoul (Haute-Saône), France
Died January 10, 1904 (aged 79)in Paris, France
Nationality French
Field Painting, Sculpture
Training Paul Delaroche, Charles Gleyre
Movement Orientalism

1846 The Cock Fight
1848 Anacréon, Bacchus et l'Amour
1851 Young Nymph teased by Putti
1855 Century of Augustus Birth of Christ 1855
1857 Camels at Trough
1857 Figure Study for La Priere ches un chef
1857 Egyptian Recruits Crossing the Desert
1859 Guard of the Harem
1860 Diogenes
1860 Head of a Negro Woman from Hedjaz
1861 Phryne before Areopagus
1861 The Prisoner
1861 Socrates Seeking Alcibiades
1865 Prayer on the Rooftops of Cairo
1865 Egyptian Smoker
1865 Bust of Julius Ceasar
1865 Arnaut Smoking
1865 Julius Cesar among his Legionaires
1866 Dance of the Amlmeh
1866 The Slave Market
1866 Cleopatra before Caesar
1866 Portrait of a Lady
1868 Bashi Bazouk Singing
1869 Bashi Bazouk
1869 Pelt Merchant of Cairo
1870 The Snake Charmer
1870 Public Prayer in Mosque of Amr
1870 Arabs Crossing the Desert
1871 Arnaut of Cairo
1872 Bisharin Warrior
1872 Thumbs Down
1872 Arab and his Steed
1873 Almeh with Pipe
1873 Arab Girl with Waterpipe
1874 Markos Botsaris
1875 An Arab and his Dogs
1876 Veiled Circassian Beauty
1876 Field of Rest Cmetary of Green Mosque
1876 Standard Bearer
1877 Egyptian Girl
1878 Reception of Grand Conde
1879 Muezzins Call to Prayer
1879 Arnaut and his Dogs
1880 A Japanese Imploring a Divinity
1881 Beware of the Dog
1881 Arab Purchasing a Bridle
1881 After the Bath
1882 An Almeh
1882 Grief of the Pasha
1883 Christian Martyre's Last Prayer
1886 Self Portrait
1887 Carpet Merchants
1889 Bather
1889 Love the Conqueror
1889 Harem Bath
1889 Bathsheba 1889
1889 Woman at Bath
1890 Pygmalion
1890 Pygmalion and Galatea
1890 MoorishBath
1891 Sorrow Statue
1895 Arab Encampment at Sunrise
1895 Sarah Bernhardt Bust
1897 Woman of Cairo at her door
1897 Bacchante and Cupid Statue
1898 Sais and his Donkey
1898 The Pipe Lighter
1899 The Whirling Dervish
1902 The Ball Player
1904 Corinth Statue
? Head of a Bearded Man
? Head of a Horse in Profile
? Jean Léon Gérôme in his Studio
? Madame le la Pagerie
? Night
? Prayer in the Desert
? The Smoker
? Seraglio
? Sketch for the Excursion of the Harem
? Colossus of Memnon
? Gray Cardinal
? Reception of the Siamese Ambassador...
Year? king Candaules
? Tomb of the Sultan
? Landscape
? Lion Sketch
? Lion
? Tiger on the Watch
? Slave Auction
? Head of a Peasant from the Roman Countryside
? Mufti Reading in his Prayer Stool
Year? Pyrrhic Dance
Year? Harem in the Kiosk, Constantinople
Year? The Last Judgement Day
Year? View of Paestum
Year? Plain of Thebes, Upper Egypt

Pygmalion

Working in Marble

Artist: Jean Leon Gerome
Title: Pygmalion or Working in Marble 1890
Signed lower left on portfolio cover
Medium: Oil on canvas/huile sur toile
Size: 18.75 x 15.75 in (50.5 x 39.5 cm)
Location: Dahesh Museum, New York
French Orientalist

Gérôme's choice of referencing Pygmalion is an appropriate one for an artist of the academy. These artists were striving for accuracy so real that the sculpture itself might look alive. Academic art did not leave room for individual interpretation of the figure like modern sculpture does. Academic sculptures judged to be the most successful were those that also appeared to be the most real. With the juxtaposition of both the model and the sculpture, only the material of the sculpture indicates which one is real and which one has been created. Their forms are identical. But in this self-portrait Gérôme is not only highlighting his work as a sculptor, but his skills as a painter as well. Though his sculptural skills seem flawless, he makes it clear using paint that one figure is a real model while one is a plaster figure.

Self-portraits like this one are an interesting topic to consider. Perhaps, for the reasons discussed above, Gérôme chose to compare himself to Pygmalion. But look around Gérôme's studio. How else is he portraying himself? Even though he is carving and molding a plaster cast, his studio is remarkably clean. He has also inserted other examples of his sculptural mastery into the painting, including the dancer with the hoop in the background, which was a model for another one of his sculptures. The bust on the shelf behind him is also another one of his sculptures, this time a portrait of the moon goddess Selene. Not only is he interested in the Greco-Roman sculptural heritage, the mask and other exotic objects placed along the back wall highlight his interest in foreign cultures.

Source Dahesh Museum Blog posted by Educator Gretchen Burch September 22, 2006

Pygmalion and Galatea

Signed lower center Jean Léone Gérôme, 1890
Pygmalian and Galatea
oil on canvas/huile sur toile
35 x 27 in (87.5 x 68.6 cm)
Signed right center 1875
French Orientalist

The story of Pygmalion and Galatea, from Wikipedia:Pygmalion was a lonely Cypriot sculptor who carved a woman out of ivory. According to Ovid he is 'not interested in women', but his statue is so realistic that he falls in love with it. He offers the statue presents and eventually prays to Aphrodite the goddess of beauty and love. Aphrodite takes pity on him and brings the statue to life. They marry and have a son, Paphos.

Eunuch Guarding a Door

Artist: Jéan Léone Gérôme
Title: Eunuch Guarding a Door 1859/ Eunuque gardent une porte
Signed and dated 'J.L. Gerome 1859'
Medium: Oil on Canvas/huile sur toile
Size: 24x15 cm
French Orientalist

Video

Bashi Bazouk

Artist:Jean Léone Gérôme
Title: Bashi Bazouk, 1869
Signed lower left 1869
Medium: oil on canvas/huile sur toile
Size: 81 x 66cm (31.75 x 26 in)
French Orientalist


My copy of this painting done in oil

This is a photo of a Bashi Bazouk

Bisharin Warrior

Bisharin-Warrior, originally uploaded by Portrait Artist - Enzie Shahmiri.

Bisharin Warrior
French Title: Bischarin, buste de guerrier (Bisharin Warrior)
Jean-Léone Gérôme (French, 1824-1904)
Signed J.L Gerome (lower left)
Oil on canvas
11 5/8 x 8 5/8 in ( 29.5 x 21.9cm)

Painted in 1872

This extraordinary portrait is one of two canvases of the same subject (different poses) ordered by the art dealer Samuel P. Avery from Gérome while he was resident in London during the siege of Paris. Gérome promised to deliver the panels once back in Paris, where he could find a proper model, This seems to indicate either that Gérome started and painted much of the work from memory, or that perhaps he just worked up the accessories and the general pose from a local model in London and then finished the work in Paris. The other panel, Arab Warrior, 1872 is larger.

The same model is depicted from the front with his head turned dramatically away; a greater array of accessories is included.

By comparison, the Bisharin Warrior, is a marvel of compositional control . Despite the seeming austerity, the work is held together by complex rhythms: an obvious over-all triangle is broken by the hand holding the sword whose diagonal slant is prepared for by the strap on the young man’s shoulder. The roundness of the rich hair is echoed by the shield, whose bosses nonetheless set up an accord with the rectangular shape of the canvas, and so it goes through the painting, where despite the seeming relaxed naturalism of the pose, every line and shape has its purpose.

The Bisharin or Bishari are a nomadic , pastoral tribe of the Eastern Desert of the Sudan. Gérome, proud of his skill as an “ethnographic painter”, displays his skill in accurately producing a racial type as well as an individual. The Bisharin are noted for their round faces, their straight noses and large eyes. In these traits they resemble the ancient Egyptians as depicted in their art. There are many fine features in this painting: The shield is excellent, the splayed fingers around the handle of the sword, and the youthful right arm. The handling of the face is quiet subtle, especially in the cheek bones and the sensuous lips.

Written by Professor Ackerman for Christie’s, Important Orientalist Paintings, 2001, P 36

Photo of Bisharin Warrior from Aswan