Lot Essay
The geometrically severe composition-commanded by the diagonal baton, and the corner of a rug covered table upon which the woman leans- supports the pensive expression on the face of the beautiful model; her thoughts are far deeper than those caused by the boredom of posing. Her serious mood dominates her wonderfully structured face, seen through the taughtly pulled folds of the veil. There is a poignancy to her beauty, not only in her face, but in the soft and finely modeled hand that cradles the baton, and in the impeccable smoothness of her white bosom, all surounded by the glory of a richly brocaded jacket with its golden lace fringe. The varying gold-threaded decorations of the pattern are recorded by Gérôme with incredible sensitivity to the changes of color values as light travels across the various planes of the folds. The colors of the jacket, the controlled disquiet of expression, the jet black hair are all intensified by the deep, burnt, Pompeian red of the background. Gérôme's gift for sensuosness-both of observation and depiction-is here matched by his responsibility to the woman's character and position, which although it may not be absolutedy respectable, is above being coquettish.
The Veiled Circassian Woman is in the same format as the series of three paintings of upper-class Turkish women which Gérôme painted after he had returned from Istanbul in 1875 with a fresh collection of costumes and accessories. The model poses in a way similar to the poses of the Turkish ladies, but the effect is distinctly different in many ways: the mode, the clothing, the veil and the near-contemplative mood are all freshly observed.
In delicacy of handling, sureness of composition, and subtlety of color. This picture, long thought to be lost, far surpasses the promise of the old studio photograph through which it was previously known.
We are grateful to Professor Gerald M. Ackerman for his assistance in preparing this catalogue entry.
The Veiled Circassian Woman is in the same format as the series of three paintings of upper-class Turkish women which Gérôme painted after he had returned from Istanbul in 1875 with a fresh collection of costumes and accessories. The model poses in a way similar to the poses of the Turkish ladies, but the effect is distinctly different in many ways: the mode, the clothing, the veil and the near-contemplative mood are all freshly observed.
In delicacy of handling, sureness of composition, and subtlety of color. This picture, long thought to be lost, far surpasses the promise of the old studio photograph through which it was previously known.
We are grateful to Professor Gerald M. Ackerman for his assistance in preparing this catalogue entry.