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Guillaumet was a naturalist painter, interested in light and atmosphere. Unlike some other artists he was not primarily interested in the bright costumes or more conventional orientalist themes, but in the vastness of the infinite horizon and the majesty of the desert. As was common in his works the
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commented “this is the oddest, queerest, most eccentric, least academic thing in the exhibition… it does the jury great credit to have admitted this picture, for it is precisely of the order which juries do often refuse.” He also described the Arabs portrayed in the painting as “not graceful, but
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Reviewing the painting when it was exhibited at the salon of 1863, Auguste
Cordier commented on the sharpness and depth of its colours, as well as on the authenticity and sobriety of the whole scene, most particularly in the figures of the praying Arabs. Its strong and simple beauty, he felt, was
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Guillaumet himself deplored “the disappearance of the strange, mysterious and evocative culture of
Algiers as the price of a modern progress that bring the vandalism of the market economy and the perversion of morals.” In this context his painting may be seen as a counterpoint to the decadence of
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The desert was a symbolic construct in
European art, a place outside of time or civilization, its infertility implying the need for European intervention to make it fruitful. Guillaumet himself has been described as “a realist, domesticating the exotic”. The monotony of the wilderness he depicts
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as behind them smoke rises from campfires. The scene is set on a wide plain that stretches to the horizon, which is broken only by a few mountainous forms. The sun has already set, the light is fading and fine plumes of smoke indicate that the air is calm and still.
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visited the territory in 1860, and described himself as “just as much the
Emperor of the Arabs as Emperor of the French”. The Emperor imagined a grand project: an Arab kingdom, which would stretch from Algiers to Baghdad, under the protection of France.
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There are various inaccuracies in the scene represented in the painting, most notably in the pose of the central figure, which is unknown in
Islamic prayer. Also, the complete absence of any women from the scene implies the desert is a masculine space.
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landscape is stripped down to bare essentials, denying the viewer any sense of perspective or alternative focus to the figures in the foreground. Instead, he focuses on the quality of light in the scene, and the atmosphere it evokes.
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that modern progress. In his writings he described the evening prayer in the desert as a source of consolation and an expression of hope for those constantly subjected to harsh living conditions.
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The
Masterpieces of French Art Illustrated Being a Biographical History of Art in France, from the Earliest Period to and Including the Salon of 1882 · Volume 2
56:. The painting is typical of Guillaumet’s earlier work, combining classical composition with a vast landscape populated by exotic figures, making it a standard
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His work was a pivotal point in orientalist art, produced at a time of great interest in
Algeria. Like some of his other Algerian works (such as
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is melodramatic in tone though it also conformed to the classical composition and clean finish expected of works favoured by the
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Guillaumet was fascinated by
Algeria, visiting it nine times after his initial stay in 1862. During the period of his visits the
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52:. Executed in oil on canvas and measuring 1.37m by 3.005m, it is one of the most celebrated desert paintings in the
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Guillaumet completed the work in
Algeria and brought it back to France where it was exhibited in the
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French Women
Orientalist Artists, 1861–1956 Cross-Cultural Contacts and Depictions of Difference
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suggests that there is nothing for the human spirit in this space but religious delirium.
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Scènes des genres au Maghreb Masculinités, critique queer et espaces du féminin/masculin
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120:(1891-1982) and the Musée d’Orsay (since 1982). It was also exhibited at the
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552:. University Park, PA: Pennsylvania State University Press. p. 136.
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La critique française Revue philosophique et littéraire · Volume 4
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Empire of Landscape Space and Ideology in French Colonial Algeria
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reinforced by the various noble attitudes of the men at prayer.
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and won a salon medal as well as being purchased by the state.
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The painting has been in the permanent collection of the
341:. Toronto: University of Toronto Press. pp. 66–67.
72:desert in various stages of prostration during the
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404:Fifty Years of Modern Painting, Corot to Sargent
93:- particularly the Sahara - was still underway.
580:Groneman, Claudia; Pasquier, Wilfried (2013).
619:. Paris: Librairie Centrale. 1864. p. 75
338:Modern Art and the Idea of the Mediterranean
199:In contrast, reviewing the same exhibition,
146:L’Algérie de Gustave Guillaumet (1840-1887)
68:The work depicts a group of Muslims in the
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496:"Le rêve arabe de Napoléon III"
469:"NAPOLEON III AND ABD EL-KADER"
264:"Prière du soir dans le Sahara"
138:L'Algérie de Delacroix à Renoir
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204:strangely wild and pathetic.”
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16:Painting by Gustave Guillaumet
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586:. Leiden: Brill. p. 72.
227:The Sahara A Cultural History
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130:Exposition Universelle (1900)
122:Exposition Universelle (1867)
44:Prière du soir dans le Sahara
178:Evening Prayer in the Sahara
34:Evening Prayer in the Sahara
28:(1863) by Gustave Guillaumet
26:Evening Prayer in the Sahara
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91:conquest of the territory
638:Woodward, B. B. (1863).
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376:Muther, Richard (1896).
302:. Taylor & Francis.
230:. Oxford: Signal Books.
546:Zarobell, John (2010).
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182:Académie des Beaux-Arts
142:Institut du monde arabe
48:is an 1863 painting by
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475:. Fondation Napoléon
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64:Description
58:orientalist
664:Categories
208:References
156:(2019).
136:(1974);
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154:Roubaix
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