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Prosper Dorbec in "L'Hellénisme d'Eugène Fromentin," in the "Gazette des Beaux-Arts," 5th per. 9 (1924): 30-31, singled out Fromentin as a classicist among Orientalists. For the painter-writer, according to Dorbec, the desert and the ramparts of Aïn Mahdy became the plains of Ilium. In this spacious view, characteristic of the artist's production in the mid-sixties, the bold silhouettes of the horsemen, their generalized treatment and the essentially static composition reaffirm the classical character of Fromentin's painting. Shown are a group of Arabs examining a horse being displayed for sale. A rather similar composition, "Horse Market in Algeria," 1867, appeared on the New York art market in 1913. Related studies include a view similar to the group of would-be purchasers in this scene, "Five Standing Arabs," 1874, The William Hayes Ackland Memorial Art Center, 76.36.1; a smaller subject sold in the Verdé-Delisle Collection, Paris, Hôtel Drouot, May 29, 1879, no. 35; and a three-figured composition sold at the Hôtel Drouot, Paris, March 12, 1943, no. 26.

Page data

Page
2
Source index
0
Type
photo
Media ID
beb079473e220ddf
Size
unknown

Document data

ID
23597
Core
obj
Type
drawing
DTO data
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    "sourceUrl": "https://purl.thewalters.org/art/37.195",
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    "title": "An Encampment in the Atlas Mountains",
    "description": "Prosper Dorbec in \"L'Hellénisme d'Eugène Fromentin,\" in the \"Gazette des Beaux-Arts,\" 5th per. 9 (1924): 30-31, singled out Fromentin as a classicist among Orientalists. For the painter-writer, according to Dorbec, the desert and the ramparts of Aïn Mahdy became the plains of Ilium. In this spacious view, characteristic of the artist's production in the mid-sixties, the bold silhouettes of the horsemen, their generalized treatment and the essentially static composition reaffirm the classical character of Fromentin's painting. Shown are a group of Arabs examining a horse being displayed for sale. A rather similar composition, \"Horse Market in Algeria,\" 1867, appeared on the New York art market in 1913. Related studies include a view similar to the group of would-be purchasers in this scene, \"Five Standing Arabs,\" 1874, The William Hayes Ackland Memorial Art Center, 76.36.1; a smaller subject sold in the Verdé-Delisle Collection, Paris, Hôtel Drouot, May 29, 1879, no. 35; and a three-figured composition sold at the Hôtel Drouot, Paris, March 12, 1943, no. 26.",
    "provenance": "Purchased by Goupil & Cie (from the artist), Paris, June 28 1882 [1]; purchased by Schoen à Worms, August 3 1882. Purchased by William T. Walters, Baltimore, before 1884; inherited by Henry Walters, Baltimore, 1894; by bequest, Walters Art Museum, 1931.[1] See Goupil & Cie Stockbook 10, Stock No. 16211, Page 222, Row 13.",
    "date": "ca. 1865",
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Document identity
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Document source metadata
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    "title": "An Encampment in the Atlas Mountains",
    "description": "Prosper Dorbec in \"L'Hellénisme d'Eugène Fromentin,\" in the \"Gazette des Beaux-Arts,\" 5th per. 9 (1924): 30-31, singled out Fromentin as a classicist among Orientalists. For the painter-writer, according to Dorbec, the desert and the ramparts of Aïn Mahdy became the plains of Ilium. In this spacious view, characteristic of the artist's production in the mid-sixties, the bold silhouettes of the horsemen, their generalized treatment and the essentially static composition reaffirm the classical character of Fromentin's painting. Shown are a group of Arabs examining a horse being displayed for sale. A rather similar composition, \"Horse Market in Algeria,\" 1867, appeared on the New York art market in 1913. Related studies include a view similar to the group of would-be purchasers in this scene, \"Five Standing Arabs,\" 1874, The William Hayes Ackland Memorial Art Center, 76.36.1; a smaller subject sold in the Verdé-Delisle Collection, Paris, Hôtel Drouot, May 29, 1879, no. 35; and a three-figured composition sold at the Hôtel Drouot, Paris, March 12, 1943, no. 26.",
    "provenance": "Purchased by Goupil & Cie (from the artist), Paris, June 28 1882 [1]; purchased by Schoen à Worms, August 3 1882. Purchased by William T. Walters, Baltimore, before 1884; inherited by Henry Walters, Baltimore, 1894; by bequest, Walters Art Museum, 1931.[1] See Goupil & Cie Stockbook 10, Stock No. 16211, Page 222, Row 13.",
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Document source extras
{
    "inscriptions": "[Signature] At lowr left: Eug. Fromentin",
    "med": "oil on canvas",
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Page context
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