Lot Essay
Painted during Bauernfeind's second journey to the Middle East 1884-87. Bauernfeind was working in Jaffa, but not entirely happy, which he confided in a letter, 'Now the precise reason for this is that I can easily find the sort of human types here that I can use, but no interesting architectural backgrounds. This is a deficiency that is becoming more apparent every day. I have subjects enough for big pictures but not for small ones of the type that the Englishman (Arthur Sulley) would prefer. I have just begun a new picture - Jews at the Entrance to the Temple Mount in Jerusalem. I am not flattering myself when I say that the conception is very good indeed. A group of Jews stand at the gate (the one with whose watercolour study you are familiar), their heads thrust slightly forward as they peer into the paradisiacal sun-drenched precinct within, with its gleaming domes and coloured tiles and marble walls, which once had formed their most sacred national shrine; whereas now, seated before that very portal, sword in hand, the gatekeeper (I nearly called him the Temple watchman) bars their way. Within, Mohammedans dressed in vivid costumes stroll, sit, loll about, and the like. A fine contrast, don't you think? But alas my financial situation is not such as to allow me to realise such a picture as it should be realised, and in a manner that might make my reputation. It has to be painted so as to be at least three meters high and of a corresponding width, if it is to cause a proper stir when exhibited, and this I can only do in Munich. In the event, I am compelled to squander this happy concept on a small format in order to earn my living. My picture measures 120 x 150cm. The figures in the near foreground will therefore by over 1/2 meter high, so I shall really have to pull myself together in order to finish them alone and without any help from any of those fellows who are so marvelously well versed in the art of the human figure that would have lent a hand in Munich. That's going to cost me a good many hours of hard labour.'
Some time later, Bauernfeind writes about some changes to the picture, 'Only the ancient little man who now sadly descends the steps, after having travelled here from far away and seen the desecration of the Sacred Shrine with his own eyes before departing from the world, has once again diminished in size and will have to be content with merely 45cm. [whereas the figures in the foreground were larger than 50cm.]. The two principal groups of Jews are now 30-35cm. in height, since they are situated deeper in the picture in point of perspective.'
In a further letter he wrote that he would go to Jerusalem in the spring of 1886 'for 8-14 days so as to have a look at Jews that are more suitable than can be found here [Jaffa] and also to make a closer study of the gateway [to the Temple] itself where the Jews are standing, as well as the mosque. No matter what, the picture must be finished by end of May'.
By the beginning of June, Bauernfeind sent an itemised list of his current works to Sulley including '1. [Jews at the Temple] entrance. In the background stands the Omar mosque with its beautiful coloured tiles by which it is overlaid. Its size 120/150cm. I think the picture will find your approbation'.
Sulley was pleased with the picture, when it was sent to London and paid ¨500 (approximately 10,000 marks, at the time).
On 17 November 1886 the German newspaper Tägliche Rundschau(?) reviewed the Temple Mount but did not record where the picture was exhibited.
'A highly distinguished work, as well, is that of G.(ustav) B(auernfeind): The Entrance of the Temple in Jerusalem . Jews mourning the loss of their House of God are artfully grouped and all the details of the opulent Oriental architecture depicted with great fidelity.'
The Atheneum, on the other hand, considered that the shadows in the 'very effective' painting were 'too black for those of sunlight'.
Bauernfeind responded in a letter to Sulley that the approach to the Temple Mount is by a covered passage 'several hundert (sic.) meter long, without the slightest admission of light from above, so that from the side of the spectator no ray of light clears up the shadows' (A. Carmel op. cit., pp.104-6).
Some time later, Bauernfeind writes about some changes to the picture, 'Only the ancient little man who now sadly descends the steps, after having travelled here from far away and seen the desecration of the Sacred Shrine with his own eyes before departing from the world, has once again diminished in size and will have to be content with merely 45cm. [whereas the figures in the foreground were larger than 50cm.]. The two principal groups of Jews are now 30-35cm. in height, since they are situated deeper in the picture in point of perspective.'
In a further letter he wrote that he would go to Jerusalem in the spring of 1886 'for 8-14 days so as to have a look at Jews that are more suitable than can be found here [Jaffa] and also to make a closer study of the gateway [to the Temple] itself where the Jews are standing, as well as the mosque. No matter what, the picture must be finished by end of May'.
By the beginning of June, Bauernfeind sent an itemised list of his current works to Sulley including '1. [Jews at the Temple] entrance. In the background stands the Omar mosque with its beautiful coloured tiles by which it is overlaid. Its size 120/150cm. I think the picture will find your approbation'.
Sulley was pleased with the picture, when it was sent to London and paid ¨500 (approximately 10,000 marks, at the time).
On 17 November 1886 the German newspaper Tägliche Rundschau(?) reviewed the Temple Mount but did not record where the picture was exhibited.
'A highly distinguished work, as well, is that of G.(ustav) B(auernfeind): The Entrance of the Temple in Jerusalem . Jews mourning the loss of their House of God are artfully grouped and all the details of the opulent Oriental architecture depicted with great fidelity.'
The Atheneum, on the other hand, considered that the shadows in the 'very effective' painting were 'too black for those of sunlight'.
Bauernfeind responded in a letter to Sulley that the approach to the Temple Mount is by a covered passage 'several hundert (sic.) meter long, without the slightest admission of light from above, so that from the side of the spectator no ray of light clears up the shadows' (A. Carmel op. cit., pp.104-6).