Journeys of the mind — when artists dream of far-flung lands
Explore 10 paintings by artists who conjured distant lands without leaving their studios. Jessica Lack is your guide
‘The real voyage of discovery is not in seeking new landscapes but in having new eyes,’ wrote the novelist Marcel Proust. As a writer who spent much of his life in bed, the great modernist understood the power of treasured objects and the unconscious mind to evoke memories and imagine far-flung places.
Here we explore 10 paintings by artists who, like Proust, conjured up foreign lands, without leaving their studios.
René Magritte imagines the AlpsLe domaine d’ Arnheim, 1938
René Magritte (1898-1967), Le domaine d'Arnheim, 1938. Oil on canvas. 28⅝ x 39⅜ in (72.8 x 100 cm). Sold for £10,245,000 on 28 February 2017 at Christie’s in London. Artwork: © Rene Magritte, DACS 2020
Poe’s story recounts the tale of a fabulously wealthy American who creates his own Xanadu, saying, ‘Let us imagine a landscape whose combined vastness and definitiveness — whose united beauty, magnificence and strangeness shall convey the idea of care, or culture… on the part of beings superior, yet akin to humanity.’
Magritte had never been to the Alps, but in 1926 he came across a photograph of the mountain range in a travel brochure and used it as inspiration for his bird-mountain. He was so pleased with the results that he painted the Alpine vista another nine times. It became one of his most enduring symbols.
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Abraham-Louis-Rodolphe Ducros imagines Rome A Capriccio with Roman Architecture, circa 1784
Abraham-Louis-Rodolphe Ducros (Yverdon 1748-1810 Lausanne), A Capriccio with Roman Architecture. c. 1784. Black chalk, pen and brown ink, watercolour, gum arabic. 27⅜ x 40 in (69.3 x 101.7 cm). Sold for £11,250 on 3 July 2018 at Christie’s in London
The style was first introduced in the Renaissance era but came to prominence in the 18th century with the Grand Tour, as fashionable aristocrats from Northern Europe sought works that encapsulated their idealised visions of the ancient world, rather than its contemporary reality.
John Martin imagines EgyptThe Destruction of Pharaoh’s Host, 1836
John Martin (1789-1854), The Destruction of Pharaoh's Host, 1836. Pencil and watercolour with gum arabic heightened with bodycolour and with scratching out. 23 x 33¾ in (58.4 x 85.7 cm). Sold for £758,050 on 3 July 2012 at Christie’s in London
Martin saw the world in apocalyptic terms, and sought to depict it that way, vastly exaggerating the scale of his panoramas in order to create maximum surprise. As he explained in 1828, ‘Seen through the mist of ages, the great becomes gigantic, the wonderful swells into the sublime.’
The artist has imagined Egypt as a fiery landscape. On the blood-red horizon Martin has only painted two, rather than the three Great Pyramids of Giza, which lie some 80 miles distant from the Red Sea.
Henri ‘Le Douanier’ Rousseau imagines AlgiersPaysage d’Alger, 1880
Le Douanier Rousseau (1844-1910), Paysage d'Alger, 1880. Oil on canvas. 37.8 x 60.8 cm (14¾ x 24 in). Sold for €385,000 on 23 May 2012 at Christie’s in Paris
Kano Naizen imagines PortugalThe Southern Barbarians Come to Trade, circa 1600
Attributed to Kano Naizen (1570-1616), Southern Barbarians Come to Trade. Ink, colour, gold and gold leaf on paper. 63 x 142¼ in (160 x 360.4 cm) each (2). Sold for $4,786,500 on 23 March 2011 at Christie’s in New York
In the early 17th century Japan’s rulers began a policy known as sakoku, under which Westerners were banned from entering Japan, while the country’s own people were forbidden to leave. This period of self-imposed isolation continued for more than two centuries until the arrival of an American navy ship in 1854.
Prior to this enforced incarceration, Portuguese sailors (known as Southern Barbarians) were permitted to trade with the Japanese at the port of Nagasaki. In this work, court painter Naizen has imagined Portugal as a world of Christian, Mughal and Chinese influences, replete with horses and elephants, and lorded over by grand Pooh-bahs carried on medieval litters.
George Frederick Watts imagines Mount AraratArarat, 1885
George Frederic Watts, O.M., R.A. (1817-1904), Ararat, 1890. 56½ x 28½ in (143.5 x 72.5 cm). Oil on canvas. Sold for £42,500 on 15 November 2007 at Christie’s in London
The artist has depicted the mountain at night, with the rocky hills rising up to an inky blue sky lit by a single star. When it was exhibited at the Grosvenor Gallery in 1885, The Spectator reported, ‘It is one of those pictures of which Mr Watts alone has the secret, which is at once severe and beautiful, full of high thought and intense dignity. No one but a great figure-painter could paint landscape of this kind; the scene appears like the revelation of a landscape’s personality, a conception of the spirit of the place more than an actual record of its details.’
Giulio Rosati imagines the OrientBackgammon Players in a Courtyard
Giulio Rosati (Italian, 1858-1917), Backgammon Players in a Courtyard. Pencil and watercolour on paper. 16⅛ x 23⅜ in (41 x 59.5 cm). Sold for £145,250 on 2 July 2008 at Christie’s in London
Each scene was meticulously constructed using oriental fabrics, carpets and costumes acquired in Rome from Spanish traders. The alluring exoticism of the East became highly fashionable among Europe’s elite in the late 19th century, feeding into furniture, textiles, the decorative arts and even architecture.
An Italian painter imagines ConstantinopleView of Constantinople, circa 1600
Italian School, View of Constantinople, circa 1600. Oil on canvas. 71¼ x 110 in (180.9 x 279.4 cm). Sold for £200,000 on 6 December 2018 at Christie’s in London
In response to the downfall, paintings were commissioned by wealthy Europeans keen to retain some symbolic and religious connection with the city. View of Constantinople was painted in Italy at the beginning of the 17th century by an artist who had never visited the metropolis — we know this because he has mistakenly painted the famous minarets square, rather than round.
Noel Harry Leaver imagines North Africa Arabs Selling Their Wares Before a Mosque, circa 1910
Noel Harry Leaver (1889-1951), Arabs Selling Their Wares Before a Mosque. Pencil and watercolour heightened with bodycolour. 10 x 13⅞ in (25.4 x 35.3 cm). Sold for £3,000 on 3 September 2013 at Christie’s in London
Back at home, artists were quick to take advantage of the new-found desire for Oriental-themed paintings and objects, and this interest continued into the early 20th century. Yorkshire-born artist Noel Harry Leaver (1889-1951) made his name painting imaginary towns along the North African coasts that strongly evoked the heat and light of the dusty Arabian souks.
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Frederic Church imagines Maine as South AmericaA New England Lake, 1854
Frederic Edwin Church (1826-1900), A New England Lake, 1854. Oil on canvas. 30 x 42 in (76.2 x 106.7 cm). Sold for $1,812,500 on 21 November 2017 at Christie’s in New York
This uncanny picture was created after the artist had been in South America, where he had been struck by the light and drama of the landscape. The intense white glare grazing the treetops and the glowing pink sky combine to create a transcendent vision that blended North and South America in his mind.