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Lot Essay
Desite a short-lived stint at his local art academy in Toulouse, Benjamin Constant's true artistic and cultural education took shape during his voyage abroad in the early 1870s to explore distant cultures of North Africa, most specifically Morocco where he sojourned for eighteen months in Tangiers (see lot 29). The two years he spent abroad left an indelible mark on the young artist. From 1873 after his return to Paris, the panels and canvases produced by the artist were elaborate studio productions based on the exotic props and souvenirs that he brought back from his travels. A contemporary photograph of Constant posing in his studio reveals an elaborate trove of tiles, carpets, tapestries as well as more eccentric items, such as shields, swords, lamps, a lion's pelt and even a stuffed leopard (fig. 1).
While his recreations were based on true to life objects he collected, Constant's own unique interpretation of the East always involved a fantasy element that appealed greatly to Western collectors. As seen in the background of the studio photo, Constant drew from excerpts of Moorish architecture, the Arabo-andalouse style which he saw in Spain, and made life size architectural 'cut outs' of archways which he could use interchangeably as his backgrounds. One such archway, barely visible in the studio photograph could correspond with the one seen in the present work. Constant made aggressive variations to the patterning to give it his signature touch by emphasizing the size of the scrolls, the shell motif at the center of the arch as well and the stylized grape motif.
Within the archway, the two models exude their characteristic air of indifference. Immediately recognizable in the foreground is the lion's pelt. The golden hues of the pelt counterbalance other highlights of paint and touches of gold sprinkled throughout the composition - in the opulent dresses worn by the models, the folds of the velvet curtain at left, and the golden pillow by the standing figure. One of the successes of the composition is due to Constant's dramatic use of light and shadow. The chic bric-a-brac to the left of the composition enshrouded in shadow is barely distinguishable to the eye yet finds a harmonious juxtaposition with the bright light source directed on the models posed on their 'stage.' Also notable is Constant's varied and accomplished use of the brush. In his treatment of the pillow and the models' costume he achieves a meticulous detail- in other areas, such as the lion pelt and the background he deliberately creates a blurred effect. While initially his oversize Orientalist works were almost exclusively bought by the nation, Constant began to produce smaller scale painting of women to attract private collectors. There is no doubt that the overall effect of the present work would have been captivating to a more private audience eager to receive his work.
(fig. 1.) Benjamin Constant in his Studio. Contemporary photograph.
While his recreations were based on true to life objects he collected, Constant's own unique interpretation of the East always involved a fantasy element that appealed greatly to Western collectors. As seen in the background of the studio photo, Constant drew from excerpts of Moorish architecture, the Arabo-andalouse style which he saw in Spain, and made life size architectural 'cut outs' of archways which he could use interchangeably as his backgrounds. One such archway, barely visible in the studio photograph could correspond with the one seen in the present work. Constant made aggressive variations to the patterning to give it his signature touch by emphasizing the size of the scrolls, the shell motif at the center of the arch as well and the stylized grape motif.
Within the archway, the two models exude their characteristic air of indifference. Immediately recognizable in the foreground is the lion's pelt. The golden hues of the pelt counterbalance other highlights of paint and touches of gold sprinkled throughout the composition - in the opulent dresses worn by the models, the folds of the velvet curtain at left, and the golden pillow by the standing figure. One of the successes of the composition is due to Constant's dramatic use of light and shadow. The chic bric-a-brac to the left of the composition enshrouded in shadow is barely distinguishable to the eye yet finds a harmonious juxtaposition with the bright light source directed on the models posed on their 'stage.' Also notable is Constant's varied and accomplished use of the brush. In his treatment of the pillow and the models' costume he achieves a meticulous detail- in other areas, such as the lion pelt and the background he deliberately creates a blurred effect. While initially his oversize Orientalist works were almost exclusively bought by the nation, Constant began to produce smaller scale painting of women to attract private collectors. There is no doubt that the overall effect of the present work would have been captivating to a more private audience eager to receive his work.
(fig. 1.) Benjamin Constant in his Studio. Contemporary photograph.