Additional Images

Provenance:

Fredrick W. Thom Limited, Toronto, ON
Private Collection, Toronto, ON

Note:

The realism achieved in Rudolf Ernst’s Orientalist paintings stems from his astute use of the then-emerging medium of photography and understanding of architecture.

Born in Vienna in 1854, the son of Austrian architect Leopold Ernst Rudolf Ernst was encouraged to explore his artistic talents at a young age. Enrolling in the Academy of Fine Arts Vienna at 15, Ernst began his artistic career as a genre painter, focusing on the portraiture of children and musketeers.[1] It was the artist’s travels and eventual move to Paris and French naturalization that broadened his artistic horizons and exposed him to the North African and Arab diaspora of France.

The academic yet purely imagined scenes of Orientalism – fueled by colonialist ventures – which filled the halls of Paris’ Salon, eventually inspired the artist to travel to North Africa in 1885 to experience these cultures firsthand. Ernst was immediately struck by the opulence of pattern and design that was integrated into everyday life and promptly devoted his career to what is often termed the second wave of French Orientalism.[2] This second wave was born from the recent interest in Realism and the proliferation of cultural exhibitions, such as the Universal Exhibitions, in which Ernst took part. So immersed in the movement, he began collecting Islamic objects.

By visually documenting his travels by photograph and acquiring souvenirs along the way, Ernst was able to meticulously recreate intricate details on panel and canvas while back in his Paris studio.

Finishing Touches is one such painting, detailing the final moments of the bride’s dressing prior to her wedding. From the bride’s beaded headdress to the mother-of-pearl inlay on the jewelry box, Ernst renders the individual textures and surfaces in the room with painstaking precision. The architectural details of the room, such as the Moorish alcoves and faience-tiled room divider, envelop the subjects, transporting the viewer into the sumptuous turn-of-the-century North African scene that leads the eye to discover new details with every glance.

[1] Lynne Thorton, The Orientalists: Painter Travellers, (Paris: ACR Édition, 1983), 80.
[2] Ibid, 15.