Paintings

Description of the painting by Eugene Delacroix “Algerian Women”


The painting Algerian Women (often Algerian Women in Their Chambers) was painted by Eugene Delacroix in 1834 and later served as a source of inspiration for Picasso, Matisse and Renoir.

The artist was very impressed with the harem, which he saw in Algeria during his trip to North Africa. While visiting a sultan, Delacroix was very lucky to get into the holy of holies of the Muslim world, where he appeared in her beauty concubines, who became the heroines of the painting "Arab Women." Despite the fact that their life was not different from ordinary life, and women were not as romantic natures as they appeared on the canvas.

Four women of different races and nationalities are sitting on rugs with pillows and smoking a hookah. The black concubine goes beyond the picture, saying something to the remaining girls. The faces of the latter are filled with peace and femininity, and the poses are relaxed and imposing. Each of them looks into the distance with a foggy look and it is not clear what exactly he expresses: pacification, sadness, longing ... Or is this shroud in front of our eyes the result of the hookah acting on fragile girls? The clothes of the concubines are varied, but the most elegant outfit is on the left. And although her rings and necklaces are not much different from the jewelry of other women, we can assume that it is she who is considered the darling of the Sultan.

In this picture, the artist, according to many experts, begins his experiments with color and adds additional colors (red, green), which are written in contrasting details throughout the composition. And the rest - the picture is just as beautifully executed as the other works of the master.

Showing interest in various exotics, after returning from North Africa, Delacroix creates a series of paintings on the character, morals and everyday life, which he displayed during his trip in many sketches. This work has become a kind of milestone in the work of Delacroix and in the history of all art.





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