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auction house, the men gathering in a line, not a circle. Bohrer attributes this divergence of
Herodotus' translation to Long's own artistic freedom or reimagining of the fable, purposely abstracting the content of Herodotus to be more resonant with his 1875 audience. Hart attributes this divergence with Herodotus to Long's reading and favour for George Swayne's translation and commentary on Herodotus, which contains this linear arrangement and equal arrangement of the brides as depicted by Long. The Graphic notes Long's fondness for Swayne's commentary on Herodotus. It is argued that Long chose this method of composition because it better aligns the women (brides) with the decimal currency, with Hart arguing that the linear arrangement is more like a numerical scale that converts the brides to
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Long's placement of historical detail within the work. It has been noted that when the painting was originally displayed its meaning was ambiguous, without clearly signalling endorsement or disapproval at the
Babylonian ritual. Bohrer points out that the painting struck a chord with the public, as its core topic is the transformation of women into an objective currency, amid the wider political changes with regards to women being able to possess land and currency of their own.
423:
492:. He argues that the fact that the women's arranged of beauty correlates distinctly with their racial features, from the most attractive who have fair skin and European features, while the least beautiful having darker skin and more pronounced features, is evidence of these internalised race judgements.
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praised the painting and highlighted the similarity between its subject matter and modern
European marriage practices, which Ruskin thought were also mercenary and immoral. It is noted that audiences at the time had a taste for exotic eastern artefacts and narratives. The work was displayed in a gold
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worth to beauty. Long was understood to put forward that the most beautiful and ugly things are deeply subjective and personal. The additional choice to have the women seated at an equal level has been observed to establish an impactful linear equality, not hierarchy; Hart argues that this feature of
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off on the white stone stepped pedestal featured in the middle ground of the painting. Upon this pedestal the first bride is currently being auctioned; she is displayed for purchase by another darker-skinned woman. To their left stands an auctioneer, presenting the woman to be sold. In the background
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Art critics of the period did not question Long's attention to archaeological detail and instead were primarily interested in the figures and narrative occurring within the setting. Art journalists at the time were noted to be absorbed in the ancient narrative. Media at the time of display applauded
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Long's inspiration for his choice of composition is unclear, as within the literature are housed competing and contrary opinions. The core topic of this disagreement is the divergence of Long's composition when compared with
Rawlinson's translation of Herodotus, the academic standard of translation
300:
Bohrer posits that Long imagined and painted the place of sale to resemble a 19th century auction house. Bohrer argues that by doing this Long made the experience of viewing the painting more confronting for the present day
Victorian viewer. Shireen Huda argues strongly for the idea that Long was
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of the image a crowd of men has gathered and is engaged in bidding on the women. The crowd features men that appear to come from different wealth levels and classes, and they are consumed by an array of different activities. Bohrer notes that the underlying event and subject of depiction is the
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Imogen Hart points out that
Herodotus describes the event taking place in the heart of a village, not an auction house, with the men of the village standing in a circle around the women, not a line. She further observes that Long's painting however, is set in a building reminiscent of a modern
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setting, but rather as imaginative inspiration. As the artists are noted to utilise the artefacts to embellish and create greater fictive detail in their imaginations of what
Babylon could have been like. Bohrer's puts forward that the presence of the tiled nineteenth century styled floor, in
507:, a popular comic cartoon character of the time, auctioning for sale young women and other comic characters. Academics note that the work, through its political social critique, prompted greater political reform and discussion about women's rights to own property, goods and currency.
348:
the women's seating is key to understanding Long's critique of the
Babylonian ritual. The first bride is facing away from the viewer in the detail, and in doing so the viewer is not able to see her face, but can see the linear equality of the bride's seating positions.
343:. She posits that a core feature of the painting is Long's purposeful obscuring of the faces of the ugliest and most beautiful brides. By doing this Long is argued to address the philosophical problem of the difficulty or impossibility of assigning an
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painted frame. The frame was embossed with numeric Roman numeral script, each numeral encased in a circle which was positioned directly below each bridal figure in the painting. These numerals were thought to designate the rank of each of the brides.
535:. The Graphic notes Long's enduring inspiration borne from myth and events from ancient History, especially those described by Herodotus. Bohrer notes how Long, either consciously or unconsciously, incorporates the theme of vision and the gaze in
148:. His sketches of Spanish life during travels in Spain were received well by the art audience and academics of the time. This increased his public profile. The increased notability helped to establish Long within the English Royal Art Academy.
499:. The painting was noted to acquire wider social notability, its commentary on the marriage process resonating with wider audiences. Satirical versions of the painting were created and distributed, for example an 1876 cartoon published in the
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in London. Huda puts forth that Long had painted the famous auctioneer Thomas Woods as the auctioneer character within the work. The 1875 English art audience is argued by Bohrer to be familiar with the
Babylonian /
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was noted to resonate with the women of the 1870s, in light of the women's suffrage movement. The painting is still currently thought of a symbol which embodies this goal of gender equality. The silent film
555:(see above) is an example of this. Bohrer argues this as Ancient Assyrian/Babylonian architectural conventions and technology would have not allowed such a tiled floor to be designed or manufactured.
132:
Edwin Long was a portrait painter who was highly reclusive, shying away from public appearances and publicity. He is noted to have painted more large-scale paintings than any of his peers from the
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gave women the right to retain property even once they were married. This was regarded as significant as prior to the law property of a married woman would be immediately given to the husband.
116:. It received attention for its provocative depiction of women. Long's use of historical detail to make the painting engaging yet relatable has been highly regarded. The work was purchased by
519:, who was Long's personal teacher and mentor. A popular and well respected English painter who, like Long depicted many images of Spanish life. The painting was inspired by a passage in the
539:, themes which are distinctly explored in early western depictions of Babylonian Life, this theme is highlighted in an annotation of the work making clear this theme of the gaze.
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was first displayed at the Royal
Academy's annual exhibition in 1875. It was subsequently bought for Thomas Holloway, of the Royal Holloway University of London in 1882.
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was shown at the Royal Academy, selling for 6,605 pounds, the largest price a painting had ever been sold at the time. This success as well as his persisting interest in
1702:
1631:
Smits, T.P. âA. Korda, Printing and Painting the News in Victorian London: The Graphic and Social Realism, 1869â1891,â Farnham: Ashgate, 2015 9781472432988.
931:
Gilman, Sander L. (1985). "Black Bodies, White Bodies: Toward an Iconography of Female Sexuality in Late Nineteenth-Century Art, Medicine, and Literature".
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Edwin Long is thought to have conceived the painting in direct response to creation of the new laws centred around women's ownership and the ongoing
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Sander L Gilman. âBlack Bodies, White Bodies: Toward an Iconography of Female Sexuality in Late Nineteenth-Century Art, Medicine, and Literature.â
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was ground-breaking in Long's use of Western painting tradition and Eastern myth. The English artistic audience of the time had been exposed to
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Frederick N. Bohrer, âInventing Assyria: Exoticism and Reception in Nineteenth-Century England and France,â Vol. 80, No. 2 (1998): 352
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notes that while this law was a significant improvement from the previous one, many women remained uncontented and demanded greater reform.
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The foreground of the painting contains a line of Babylonian women who are seated and are facing the painting's audience. These women are
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454:(1916) includes a sevenâandâaâhalfâminute scene closely based on this painting, and it is recreated in the historical sequence in
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Media outlets at the time were aware that the work was not just a fable, but aimed to make an important comment on the status of
247:, that was received well by art audiences. The Victorian Art World, and English art academy considered realism to be a high art.
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The painting incorporated several designs known from ancient artifacts. The motif of a carved stone with handle, probably of
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Carved stone with handle, the design of which was used for the decorative frieze of the central platform. British Museum.
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led to further travels including Egypt in his later years. Long was selected as a Royal Academician in 1876 and 1881.
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Frederick N. Bohrer, âInventing Assyria: Exoticism and Reception in Nineteenth-Century England and France,â
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Kertai, David. âEmbellishing The Interior Spaces Of Assyriaâs Royal Palaces: The BÄt ážȘilÄni Reconsidered.â
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was thought to be well received from the financial perspective, selling for a then record breaking ÂŁ6,605.
1586:
Lyndon Shanley, Mary. âEqual Rights and Spousal Friendship: The Married Womenâs Property Act of 1870.â In
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David Kertai, "Embellishing The Interior Spaces Of Assyria's Royal Palaces: The BÄt ážȘilÄni Reconsidered".
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Mary Lyndon Shanley. "Equal Rights and Spousal Friendship: The Married Womenâs Property Act of 1870". In
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Ancestry and Narrative in Nineteenth-Century British Literature: Blood Relations from Edgeworth to Hardy
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Bohrer, "Inventing Assyria: Exoticism and Reception in Nineteenth-Century England and France", 351â353
136:. Long was inspired by cultural artefacts, people and historical writings for his subject matter; the
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951:
Bohrer, "Inventing Assyria: Exoticism and Reception in Nineteenth-Century England and France", p. 352
570:(circa 2500 BCE), was reused in the decoration of the white platform at the center of the painting.
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Bohrer reports that artists practising at the time, such as Ford and Long, used Babylonian/Assyrian
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Bohrer, "Inventing Assyria: Exoticism and Reception in Nineteenth-Century England and France", 353
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Bohrer, âInventing Assyria: Exoticism and Reception in Nineteenth-Century England and France,â 351
443:, note how the painting became a symbol and discussion point for women's rights during the 1870s.
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setting. It is argued that Long conflates Babylon and Assyria, creating a hybrid eastern setting.
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Sense Knowledge and the Challenge of Italian Renaissance Art: El Greco, VelĂĄzquez, Rembrandt.
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Printing and Painting the News in Victorian London: The Graphic and Social Realism, 1869â1891
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133:
99:
1638:
Zainab Bahrani. âThat Obscure Object of Desire: Nudity, Fetishism, and the Female Body.â In
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Hart, Imogen (2012). "The Politics of Possession: Edwin Long's Babylonian Marriage Market".
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intentionally depicting a contemporary auction house, most likely an auction space used by
258:, showing the auctioning of the first bride. Her face is hidden to the painting's audience.
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painting is 172.6 cm high and 304.6 cm wide. Oil on canvas is the medium used.
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Herodotus. Rawlinson, George. Gardner Wilkinson, John. and Creswicke Rawlinson, Henry.
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Hart, Imogen. "The Politics of Possession: Edwin Longâs Babylonian Marriage Market.â
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Herodotus, George Rawlinson, John Gardner Wilkinson, and Henry Creswicke Rawlinson.
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Imogen Hart. "The Politics of Possession: Edwin Longâs Babylonian Marriage Market".
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Imogen Hart. "The Politics of Possession: Edwin Longâs Babylonian Marriage Market".
697:
Imogen Hart, âThe Politics of Possession: Edwin Longâs Babylonian Marriage Market.â
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Imogen Hart, âThe Politics of Possession: Edwin Longâs Babylonian Marriage Market.â
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Inventing Assyria: Exoticism and Reception in Nineteenth-Century England and France
1456:
1243:
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Hart, "The Politics of Possession: Edwin Long's Babylonian Marriage Market", 86â105
156:
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GarcĂa Morcillo, Marta; Hanesworth, Pauline; Lapeña Marchena, Ăscar, eds. (2015).
289:
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117:
1593:
Marta GarcĂa Morcillo; Pauline Hanesworth; Ăscar Lapeña Marchena, eds. (2015).
1541:. https://www.npg.org.uk/collections/search/person/mp02788/edwin-longsden-long.
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Hart, *The Politics of Possession: Edwin Long's Babylonian Marriage Market", 90
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Hart, "The Politics of Possession: Edwin Long's Babylonian Marriage Market", 89
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Hart, "The Politics of Possession: Edwin Long's Babylonian Marriage Market", 88
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in 1875, where it drew large crowds and won widespread acclaim. The art critic
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had internalised a conception of femininity and beauty that is distinctly
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Sander Gilman puts forth that the painting is evident of how 19th-century
180:, a contemporary example of Babylonian/Assyrian subject matter in painting
1625:. Edinburgh: W. Blackwood and Sons, 1870 "The Royal Academy Exhibition,"
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1270:
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This colour palette highlights the core warm tones used in the painting
92:
41:
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Cities of God: the Bible and Archaeology in Nineteenth-Century Britain
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that were newly available to them not in order to recreate the strict
1232:"The Politics of Possession: Edwin Long's Babylonian Marriage Market"
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Imagining Ancient Cities in Film : from Babylon to CinecittĂ
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1588:
Feminism, Marriage, and the Law in Victorian England, 1850-1895,
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Knox, Giles. âVelĂĄzquez and Inversion: Making and Illusion,â in
1340:"'The Modern Babylonian Marriage Mart' from Punch's Pocket-Book"
1449:
Pedigree and Panache: A History of the Art Auction in Australia
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Feminism, Marriage, and the Law in Victorian England, 1850â1895
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1600:"Royal Academicians | Royal Academy Of Arts | Council". 2021.
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Audience exposure to Assyrian/Babylonian artefacts and artwork
1604:. https://www.royalacademy.org.uk/royal-academicians#council.
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by Herodotus, and the artist copied some of the images from
1532:
Representing Realists in Victorian Literature and Criticism
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Imagining Ancient Cities in Film: from Babylon to CinecittĂ
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Shireen Huda (2008). "The Major London Auction Houses". In
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Representing Realists in Victorian Literature and Criticism
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531:. The composition is also influenced by Victorian painting
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Long notes that he was enduringly inspired by the works of
220:/ Assyrian subject matter on a range of earlier occasions.
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Women of Babylon: Gender and Representation in Mesopotamia
1665:
Royal Holloway's Curator, Dr Laura MacCulloch, discusses
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The painting is currently held in the Picture Gallery of
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Detail highlighting the linear composition of the brides
1590:(Princeton: Princeton University Press, 2021), 49 - 78.
1053:
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893:. Farnham: Ashgate, 2015 9781472432988" (book review).
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through the process of the market place sales system.
1534:, 167. Cham: Springer International Publishing, 2016.
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764:(Princeton: Princeton University Press, 2021), p. 23.
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Huda Shireen. âThe Major London Auction Houses.â In
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1413:Gange, David; Ledger-Lomas, Michael, eds. (2013).
1104:Ancient World on the Victorian and Edwardian Stage
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239:It is painted in a representative style, known as
1703:Paintings in Royal Holloway, University of London
1412:
622:"Edwin Longsden Long - National Portrait Gallery"
562:origin, and found in a foundation deposit of the
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867:
243:. Realism was a popular form of painting in the
1518:The History of Royal Holloway College 1886-1986
1187:"The Babylonian Marriage Market, by Edwin Long"
1169:The History of Royal Holloway College 1886â1986
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1614:Speilman, M.H. âPainters in their Studiosâ,
1061:(Edinburgh: W. Blackwood and Sons, 1870), 37
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379:The painting made its public debut at the
151:As his career and productivity increased,
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1530:Brown, Daniel. âRealist Con Artists.â In
1527:, Vol. 80, No. 2 (1998): 336 - 256.
1483:Speilman, "Painters in their Studios", 21
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1024:(New ed. London: John Murray, 1862), 262.
909:Brown, Daniel. "Realist Con Artists". In
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430:within the Royal Holloway College in 1925
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410:of the decoration on the centre pedestal
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108:into marriage in the area then known as
1583:(Amsterdam University Press, 2019), 90.
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1698:Ancient Mesopotamia in popular culture
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1633:Journal of European Periodical Studies
895:Journal of European Periodical Studies
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439:The current owners of the painting,
358:Royal Holloway, University of London
122:Royal Holloway, University of London
270:, the last bride covering her face.
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1555:New ed. London: John Murray, 1862.
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290:alteration of women into commodity
14:
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1216:Collections Online British Museum
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475:Reception of the work's narrative
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190:Married Women's Property Act 1870
1379:. National Galleries of Scotland
1306:"The Royal Academy Exhibition",
1249:10.1111/j.1467-8365.2011.00872.x
1230:Hart, Imogen (8 December 2011).
857:"The Babylonian Marriage Market"
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1511:Blackwood's Edinburgh Magazine
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1139:. Cambridge University Press.
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153:The Babylonian Marriage Market
146:The Babylonian Marriage Market
134:English Royal Artistic Academy
84:The Babylonian Marriage Market
24:The Babylonian Marriage Market
1:
1537:"Edwin Longsden Long". 2021.
1092:. London: Routledge, 2001, 70
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1562:, 19. ANU E Press, 2008. 19.
1539:National Portraiture Gallery
913:, 153. Cham: Springer, 2016.
786:"Babylonian Marriage Market"
674:The Graphic, June 9, 188, 21
363:
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7:
1523:Bohrer, Frederick N.
737:"Women's suffrage timeline"
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16:1875 painting by Edwin Long
10:
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1642:, 82â107. Routledge, 2001.
1627:Art-Journal n.s., 14, 187.
1548:35, no. 1 (2012): 87 â 95.
1520:. London: Constable, 1987.
1503:
1171:. London: Constable, 1987.
1135:Gilmartin, Sophie (2005).
843:Vol. 80, No. 2 (1998): 350
511:Influences and inspiration
497:women in the Victorian era
441:The Royal Holloway College
368:
95:. It depicts a scene from
1647:Women's Suffrage Timeline
1611:, no. 1 (1985): 204 â 242
1567:www.nationalgalleries.org
880:35, no. 1 (2012): 87â105.
553:The Dream of Sardanapalus
335:at the time of painting.
178:The Dream of Sardanapalus
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62:
47:
37:
28:
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1728:Human commodity auctions
1417:. Cambridge Univ Press.
889:Smits, T. P. "A. Korda,
120:in 1882 and is owned by
1718:Paintings by Edwin Long
1653:. Retrieved 2021-05-19.
1569:. Retrieved 2021-05-27.
91:by the British painter
1446:Huda, Shireen (2008).
1106:. Palgrave Macmillan.
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75:Royal Holloway College
1461:10.26530/oapen_459437
1102:Richards, J. (2016).
726:35, no. 1 (2012): 96.
688:35, no. 1 (2012): 104
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104:of young women being
1560:Pedigree and Panache
1553:History of Herodotus
973:Pedigree and Panache
701:35, no. 1 (2012): 87
589:(Work by Edwin Long)
229:Painting information
176:Ford Madox Brown's,
1723:History of auctions
1651:The British Library
1609:Critical Inquiry 12
1602:Royalacademy.Org.Uk
1516:Bingham, Caroline.
1344:The British Library
1167:Bingham, Caroline.
975:. ANU Press. p. 19.
741:The British Library
457:The Marriage Market
128:Artist's background
1621:Swayne, George C.
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163:Historical context
1576:(2017): 85 - 104.
1366:library.yale.edu
1088:Bahrani, Zainab.
1057:George C Swayne.
527:artefacts in the
501:Punch Pocket Book
464:Financial success
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1000:Art History
935:12(1): 221.
878:Art History
724:Art History
699:Art history
686:Art history
451:Intolerance
426:Viewing of
385:John Ruskin
314:Composition
296:The setting
275:Description
212:notes that
87:is an 1875
1682:Categories
1513:17 (1875):
1403:Clio I 196
594:References
568:A'annepada
548:Babylonian
303:Christie's
218:Babylonian
97:Herodotus'
93:Edwin Long
42:Edwin Long
1623:Herodotus
1433:959835440
1400:Histories
1326:17 (1875)
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1258:0141-6790
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1059:Herodotus
1022:Histories
544:artefacts
521:Histories
364:Reception
352:Ownership
345:objective
285:auctioned
144:inspired
142:Herodotus
138:Histories
106:auctioned
101:Histories
574:See also
564:Sumerian
533:auctions
525:Assyrian
505:Mr Punch
460:(1923).
341:numerals
308:Assyrian
89:painting
71:Location
1673:YouTube
1574:Iraq 79
1504:Sources
1364:Catalog
560:Elamite
369:Display
241:Realism
114:Assyria
110:Babylon
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795:26 May
746:19 May
631:20 May
490:racial
281:brides
63:Medium
38:Artist
1453:(PDF)
566:king
1494:Iraq
1465:ISBN
1429:OCLC
1419:ISBN
1385:2021
1351:2021
1287:OCLC
1277:ISBN
1254:ISSN
1198:2021
1151:OCLC
1141:ISBN
1118:OCLC
1108:ISBN
797:2021
748:2021
633:2021
208:and
55:1875
51:1875
48:Year
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1457:doi
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