File:A Moorish Harem(2), John Lavery.png

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Français : A Moorish Harem (un harem Maure), signé J Lavery, inscription FEZ (Fès, Maroc) et daté 1907 (en bas à droite), huile sur toile.

Un harem Maure évoque les voyages marocains de Lavery, au cours desquels il entreprit un voyage de Tanger à Fès à cheval. Cette toile est considéré comme étant un chef d'œuvre du peintre qui surprend par son réalisme anthropologique, en effet, selon les notes du catalogue, bien que l’artiste ait vu de nombreuses peintures de harems à Paris, il s’agissait « toutes de fantaisies lascives sans aucune précision documentaire, car il était strictement interdit aux Occidentaux d’entrer dans ces enclaves restreintes. Cette image n'est pas le produit de l'imagination de l'artiste mais de ce qu'il a observé, une recherche de vérité visuelle »([1]).

Contrairement aux autres artistes orientalistes qui ont peint des scènes d'harems, Lavery est l'un des rares à avoir peint ce qu'il a observé et non ce qu'il a imaginé, livrant un témoignage anthropologique précieux sur le costume Marocain du tout début du XXe siècle, et dans ce tourbillon de fastuosité, l'on aperçoit des somptueux Caftans marocains, de toutes les couleurs (rose, jaune, bleu...), sur lesquels, une Dfina, robe longue transparente, souvent à manche évasée s'entrepose, cette apparat luxueux se nomme "Mansouria", inventé au 16e siècle, qui fut d'abord un apparat masculin pour ensuite devenir l'apparat des femmes marocaines. Le rituel du thé marocain à la menthe dans sa tradition authentique est aussi illustré.
English: A Moorish Harem, signed J Lavery, inscribed FEZ (Morocco) and dated 1907 (lower right), oil on canvas.

A Moorish Harem is evocative of Lavery’s Moroccan travels, whereby he undertook a journey from Tangier to Fez on horseback. This painting is considered to be a masterpiece of the painter who surprises with its anthropological realism, in fact, according to catalogue notes, though the artist would have seen numerous harem paintings in Paris, they were “all lascivious fantasies with no documentary accuracy, as westerners were strictly forbidden from entering these restricted enclaves. This image is not a product of the artist’s imagination but what he observed, a search for visual truth”([2]).

Unlike other orientalist artists who painted harem scenes, Lavery is one of the rare ones to have painted what he observed and not what he imagined, providing valuable anthropological testimony on Moroccan costume at the beginning of the 20th century, and in this whirlwind of sumptuousness, we can see sumptuous Moroccan Caftans, of all colors (pink, yellow, blue...), on which, a Dfina, long transparent dress, often with sleeves flared is stored, this luxurious clothing is called "Mansouria", invented in the 16th century, which was first a men's clothing and then became the clothing of Moroccan women. The Moroccan mint tea ritual in its authentic tradition is also illustrated.
Date Fez (Morocco), 1907
Source Sotheby's - https://www.sothebys.com/en/buy/auction/2023/modern-british-irish-art/a-moorish-harem
Author John Lavery (Irish, 1856–1941)

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  1. ↑ 1https://www.irishtimes.com/life-style/fine-art-antiques/2023/11/18/john-lavery-masterpieces-dominate-london-sale/
  2. ↑ 2https://www.irishtimes.com/life-style/fine-art-antiques/2023/11/18/john-lavery-masterpieces-dominate-london-sale/

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current17:10, 26 March 2024Thumbnail for version as of 17:10, 26 March 20241,005 × 1,273 (2.52 MB)Littlexiaogui (talk | contribs)Uploaded a work by John Lavery (Irish, 1856–1941) from Sotheby's - https://www.sothebys.com/en/buy/auction/2023/modern-british-irish-art/a-moorish-harem with UploadWizard

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