Lot Essay
Although primarily known for his watercolours, the present work belongs to a group of large format oils that display Rosati's considerable technical abilities, of which this painting numbers amongst the most impressive. Rosati never visited the Middle East, however he was able to cleverly depict imaginary scenes from the Maghreb through the meticulous imitation of Oriental carpets, costumes, objects and architecture. In common with Filippo Baratti, Rosati used the photographs, engravings and objects which were available to him in Rome to construct authentic depictions of life in the East.
Like many of his contemporaries, including Filippo Bartolini, Rosati worked in Rome's most fashionable artistic quarter where Islamic objects formed part of almost every genre painter's studio. Certainly the Spanish painter Mariano Fortuny y Marsal returned from his travels to Granada and Séville with a number of Islamic objects. Indeed it might have been Fortuny, whose paintings took Rome by storm in the 1860s, who inspired Rosati to concentrate on Oriental subjects.
In the present work, Rosati's close study of Turkish and Caucasian rugs is apparent. On the floor are spread a number of 19th century Bordjalu and South Caucasian rugs and richly embroidered cushions. The wall is hung with a 19th century Kazak rug. The women of the harem are exquisitely clothed in richly coloured silks and cloths and bejewelled with gold and silver bracelets, necklaces and earings. Their beautiful Persian slippers, carelessly assembled at the edge of the carpet, make a charming still life in their own right.
The composition is further filled with additional Islamic objects, including hanging lamps, tables and hookahs, which together add to the exotic sumptuousness of the scene. The brightly coloured hispano-moresque tiles and carved plaster work recall the ornate halls of the Alhambra, Granada.
Like many of his contemporaries, including Filippo Bartolini, Rosati worked in Rome's most fashionable artistic quarter where Islamic objects formed part of almost every genre painter's studio. Certainly the Spanish painter Mariano Fortuny y Marsal returned from his travels to Granada and Séville with a number of Islamic objects. Indeed it might have been Fortuny, whose paintings took Rome by storm in the 1860s, who inspired Rosati to concentrate on Oriental subjects.
In the present work, Rosati's close study of Turkish and Caucasian rugs is apparent. On the floor are spread a number of 19th century Bordjalu and South Caucasian rugs and richly embroidered cushions. The wall is hung with a 19th century Kazak rug. The women of the harem are exquisitely clothed in richly coloured silks and cloths and bejewelled with gold and silver bracelets, necklaces and earings. Their beautiful Persian slippers, carelessly assembled at the edge of the carpet, make a charming still life in their own right.
The composition is further filled with additional Islamic objects, including hanging lamps, tables and hookahs, which together add to the exotic sumptuousness of the scene. The brightly coloured hispano-moresque tiles and carved plaster work recall the ornate halls of the Alhambra, Granada.