Category Archives: Art

The Art of Frederick Goodall

Egypt, Orientalism, Orientalist Art


Unloading Cotton on the Nile, painting by Frederick Goodall, mid 19th century

Attention to Orientalist paintings often ignores the lesser artists, some of whom provided valuable descriptive renderings of people and scenes. One of these is the Englishman Frederick Goodall (1822-1904), who moved to the Coptic quarter of Cairo in 1858, sharing space with Carl Haag, a drawing master for Queen Victoria. They spent much time in Bedouin camps, as well as busy suqs, where they were often treated with suspicion. After seven months in Egypt, Goodall had produced 130 oil paintings. He returned to Egypt in 1870 to make more paintings, this time with his two sons. They stayed at the house of the Egyptian archaeologist Mariette-Bey, near Sakkara. To blend in with the context Goodall grew a beard and at times dressed in white with a red fez. His work provides a meticulous “ethnographic” view of Egypt at the time.


Cairo Bazaar, 1891


The Palm Grove, 1894

Following Seward’s Folly: #2 Hopeless Arabia

Islamophobia, Lithographs, Orientalism, Travel, Yemen


Illustration from Seward’s Travels (1873)

William H. Seward, the American Secretary of State who is forever linked with the “folly” of acquiring Alaska from the Russians, spent a year traveling around the world near the end of his life. In a previous post I recorded his comments on the British rule in India, as reported by his daughter. On April 27, 1871 the Seward party neared the Yemeni port (and British fueling station) of Aden. Here is how the approach is recorded by Ms. Seward:

April 27th. – After eight months travel in the incomprehensible East, with its stagnant civilization, we are now passing into another region still more incomprehensible and hopeless.

On the right hand is Yemen, once ‘Arabia the happy,’ and still known in poetry as a land of light and beauty, but now the dwelling of Arab hordes, who are sinking every day deeper into barbarism. On the left, wee are passing Somali, that part of Africa which stretches from Mozambique to Abyssinia. Continue reading Following Seward’s Folly: #2 Hopeless Arabia →

Following Seward’s Folly: #1 Brits and Hindoos

India, Lithographs, Orientalism, Travel


Portrait of William H. Seward, Lincoln’s Secretary of State, ca. 1865; photo by Matthew Brady

William H. Seward (1801-1872) is remembered primarily, to the extent anyone but a historian would bother to remember him, for his folly. An ardent opponent of slavery, this staunch Yankee republican might well have received the presidential nomination in 1860 instead of Lincoln, but he went on to serve as Secretary of State to both Lincoln and the first President Johnson. It was in 1867 that he pushed through the purchase of Alaska from Russia for 7,200,000 dollars, a sizeable sum for a nation coming out of a costly civil war. Horace Greeley in the New York Tribune wrote in criticism that Alaska “contained nothing of value but furbearing animals, and these had been hunted until they were nearly extinct.” Little did the man who famously said “Go west, young man” know that one day a young woman named Sarah Palin would come to power in this once Russian icebox. In 1870 Seward left politics and went on a trip around the world with his adopted daughter, who kept a record of the trip and published this in 1873. From New York to San Francisco to Japan and China to the straits of Malacca, Ceylon and British India to Egypt and Palestine and Europe and finally returning home to Auburn, New York in October of 1871: this was the folly the old man followed shortly before his death. Continue reading Following Seward’s Folly: #1 Brits and Hindoos →

M F Hussain’s Aesthetic View on Islam

Contemporary Art, India, Pakistan


Hussain’s painting courtesy of Dr. Bruce Lawrence

One of the most famous, and at times infamous, painters in modern India is M.F. Hussain, who was born in 1915 and currently resides in London. He is perhaps best known for the controversy over his nude paintings, especially one that depicted “Mother India” and caused such a major backlash that he removed it from view. Less known, perhaps, are his paintings about Islam. Bruce Lawrence recently sent me several illustrations of paintings by Hussain on Islamic themes. Several of these were commissioned by Sheikha Mouza of Qatar for the Islamic museum in Doha. The picture above portrays the three monotheisms as “People of the Book.” As a painter it is clear that Mr. Hussain is less interested in promoting a particular religion than in celebrating the human spirit through his art.

Here is Bruce’s description of the painting above (this is an excerpt from a volume on Hussain, edited by Sumathi Ramaswamy and to be published by Routledge in October 2010): Continue reading M F Hussain’s Aesthetic View on Islam →

A Moorish Girl and an Irish Poet

Gender and Sexuality, Lithographs, Orientalism


A Moorish Girl, ca. 1828

The image here is entitled “A Moorish Girl” and was designed by Richard James Lane. This lithograph was published in London by Engelmann, Graf, Coindet, & Co., ca. 1828. This would have exemplified the romanticized image conjured in Thomas Moore’s immensely popular Lalla Rookh, written in 1817. Often dismissed as a kind of quasi-pornographic Orientalist doggerel, the poem is a delightful read as a flight of fancy. The entire poem is online in an attractive format. Here is a sample excerpt:

Alas, poor ZELICA! it needed all
The fantasy which held thy mind in thrall
To see in that gay Haram’s glowing maids
A sainted colony for Eden’s shades;
Or dream that he, –of whose unholy flame
Thou wert too soon the victim, –shining came
From Paradise to people its pure sphere
With souls like thine which he hath ruined here!
No– had not reason’s light totally set,
And left thee dark thou hadst an amulet
In the loved image graven on thy heart
Which would have saved thee from the tempter’s art,
And kept alive in all its bloom of breath
That purity whose fading is love’s death!–
But lost, inflamed, –a restless zeal took place
Of the mild virgin’s still and feminine grace;
First of the Prophets favorites, proudly first
In zeal and charms, too well the Impostor nurst
Her soul’s delirium in whose active flame,
Thus lighting up a young, luxuriant frame,
He saw more potent sorceries to bind
To his dark yoke the spirits of mankind,
More subtle chains than hell itself e’er twined.
No art was spared, no witchery; –all the skill
His demons taught him was employed to fill
Her mind with gloom and ecstasy by turns–
That gloom, thro’ which Frenzy but fiercer burns,
That ecstasy which from the depth of sadness
Glares like the maniac’s moon whose light is madness!

Church of the Nativity

Archaeology and Antiquities, Architecture, Art


Fresco from the Church of the Nativity in Bethlehem

The Basilica of the Nativity in Bethlehem

In 1099 a detachment of Crusaders commanded by Tancredi took possession of Bethlehem. The night of Christmas 1100 Baldwin, brother of Godefroy de Bouillon, was crowned the first king of Jerusalem in the Basilica of the Nativity, the only early Christian church in Palestine still intact on the arrival of the Crusaders. Subsequently, the Crusaders, after having fortified the sanctuary together with the surrounding monasteries, added a bell tower to the front, restored the double side entry to the Grotto under the presbytery of the basilica and built the Augustinian convent with the cloisters to its north. Between 1165 and 1169 the walls were decorated with mosaics, thanks to the collaboration between King Amalric of Jerusalem and Emperor Manuel Comnenus of Constantinople. The authors of the project were Ephraim a monk, painter and mosaicist assisted by Deacon Basilius. From the descriptions of the pilgrims we are able to determine the entire mosaic decorative cycle. The Nativity decorated the apsidiole of the Grotto, the Tree of Jesse, father of King David and progenitor of Jesus, the inner wall of the facade. On the walls a procession of Angels facing toward the Grotto at the top was followed, at the centre, by texts in Greek and Latin of the Councils in designs of the cities in which they were held, and by busts of the Ancestors of Jesus at the bottom. Scenes of the Gospel decorated the walls of the trilobate transept. Remnants of the Unbelief of St. Thomas, the Ascension, the Entry of Jesus into Jerusalem and a lone figure from the scene of the Transfiguration. Still in the crusade period the shafts of the columns were decorated with encaustic paintings from the Old and New Testaments and with Saints from the east and the west identified by texts in Greek and Latin.

Source: Holy Land of the Crusaders

Arabic Talismania

Islamic Sciences, Miniatures

I have had always had a fascination with the variety of astrological, magical and prognosticative manuscripts available in Arabic. Living in the post-Enlightenment modernity era, we scholars tend to think of astrology as a quaint feature of past pre-scientific thinking and now abandoned the New Age enthusiasts. There are, however, thousands of Arabic manuscripts that are magical, in more than the usual sense. These offer a window, however mysterious, into the concerns and fears of the past. I recently came across an extraordinary website, Digital Occult Manuscripts, which has uploaded images of numerous Arabic occult texts. I cannot find information on who puts out the project, but it is an amazing source of documents (although usually just a few pages of each manuscript) and a joy just to browse through. Here is one of the images, a talismanic man from a 12th century text by al-Ghazali.

Illustration from السر الرباني في العالم الجثماني / al-Sirr al-Rabbani fi Al-‘alam al-Juthmani
Author: Abu Hamid al-Ghazali / أبو حامد الغزالي
Year: 505 Hijri / 1111 Gregorian
Language: Arabic
Writing style: Talik
Number of pages: 130 page

With Van-Lennep in Bible Lands: 3

Bible and Holy Land, Books You Should Read, Lithographs, Orientalism, Travel


Van-Lennep’s album cover

In 1862 Henry J. Van-Lennep published twenty original chromolithographs of life in Ottoman Turkey. These include two scenes of Jewish life in the Ottoman Empire, “A Turkish Effendi,” “Armenian Lady (at home),” “Turkish and Armenian Ladies (abroad),” “Turkish Scribe,” “Turkish Lady of Rank (at home),” “Turkish Cavass (police officer),” “Turkish Lady (unveiled),” “Armenian Piper,” “Armenian Ladies (at home),” “Armenian Marriage Procession,” “Armenian Bride,” “Albanian Guard,” “Armenian Peasant Woman,” “Bagdad Merchant (travelling),” “Jewish Marriage,” “Jewish Merchant,” “Gypsy Fortune Telling,” “Bandit Chief,” “Circassian Warrior,” and “Druse Girl.” The lithographer for Van-Lennep’s paintings was Charles R. Parsons (1821-1910).


Van-Lennep’s illustration of a Turkish Lady of Rank (At Home)

Continue reading With Van-Lennep in Bible Lands: 3 →