By Gordon Baldwin
Roger Fentons photo Pasha and Bayadére is an engaging photo in its personal correct and is an expression of a extra basic Orientalist craze that grew progressively more suitable in the course of the 19th century in Europe. In his wealthy and unique learn, Baldwin explains how this snapshot of a seated guy and a dancing girl embodies subject matters and motifs that may be present in the paintings of nineteenth-century artists from Eugéne Delacroix to John Frederick Lewis to Alfred Lord Tennyson. He has additionally delivered to mild major new information regarding the lifestyles and profession of Fenton, the $64000 Victorian photographer most sensible identified for his photos of the Crimean warfare.
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Extra resources for Roger Fenton Pasha and Bayadere
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Arabes d'Oran, 1833. ). Los Angeles, private collection. Figure 12 Eugene Delacroix. Jewish Wedding in Morocco, 1837-1841(7). ). N. Figure 13 Eugene Delacroix. Jewish Musicians from Mogador, 1843/1846. ). N. Delacroix exhibited work with North African origins at the Paris salons of 1844, 1845, and 1847, but it was not until that last year that its subject matter again closely resembled what would be Fenton's. Along with two other pictures of North African inspiration, Delacroix exhibited Jewish Musicians from Mogador (Musee du Louvre, Paris), a painting of two musicians seated cross-legged on the floor playing a lute and a tambourine with a listening woman leaning over a low table [FIGURE 13].
As Robertson was employed by the Ottoman government, he would not have admitted, at least to a Turk, to an invidious comparison of past and present, but it is hard to believe that the figures are meant only to add local color. His primary intent to document is indicated by another view he made of this four-sided pedestal, which is carefully angled to show the other two sides. To make the reliefs visible he had to be up close, and consequently the figures are more prominent than in most of his pictures.
In short, Lewis exhibited so consistently in London in the mid-fifties that Fenton could hardly have been unaware of his work. 97 Studio sessions were followed by dinner. Lewis's work was often highly praised by John Ruskin, who thought him second to Turner in the pantheon of British painters. "98 In 1857, for example, Lewis exhibited at the Old Water Colour Society a large picture titled Hhareem Life—Constantinople, [FIGURE 24] which won him somewhat less praise from Ruskin than the picture he had exhibited the year before, but praise nevertheless, although Ruskin felt that Lewis had gone nearly too far in his obsession with detail and finish, and worried about the survival of all this intensive work, given the frailty of watercolor as a medium.