Golestân-e Honar 8, Summer 2007  On 1 European artists–travelers of the nineteenth European artists–travelers of the nineteenth The familiarity of Iranians with European with European of Iranians The familiarity political art begins with the schools of seventeenth with Europe in the relationship century. in the nineteenth and increases century, cultural industrial, social, and In Europe, systems in the many political changes reformed ended many monarchial, nineteenth century and systems that had existed feudal, and hierarchical transition from monarchy for centuries. In the according to Stephen Eisenman, to democracy, Critical A Art: Century in his book Nineteenth parts of controlled some the bourgeois History, On the one hand, Europe for about a century. and women followed the working class, farmers, of enlightened individuals revolutionary ideas and equality. in gaining their freedom countries such as , gather visual information, They and provide maps for military purposes. did not go merely for art experiences, as did Therefore, traveling to Iran to many Orientalists. a superb chance fulfill political objectives offered for artists to collect visual information about the cultural, social, and political systems of Iran, districts. its people, and its different its military, the , maintaining economical and the Middle East, maintaining economical period military supremacy during the colonial Britain, for instance, of the nineteenth century. asserted control over oil and other resources in Iran to assure its routes to India. Countries constant interference by such as Iran suffered in Europeans trying to enforce their ascendancy the name of modernization, two-way friendship, clout, and trade. Having political and economic France, and the United States England, , As a part chased valuable resources and lands. of the plan, European ambassadors, government missions, military men, traders, archeologists, and artists, all of whom traveled to different on regions, took back to Europe information number future investments, as well as a large and of ancient and contemporary art pieces and treasures, which made many museums private collections enormously wealthy. century who traveled to the Middle East were either Orientalists or on diplomatic missions. Orientalists were in search of new ideas and audiences Western exotic subject matter for their whereas artists on diplomatic and military missions were sent to explore Middle Eastern the other hand, industrialized nations invaded the other hand, industrialized nations invaded America, and Africa, South weak countries in Mahshid Modares Mahshid Qâjâr Period Qâjâr European Artists Artists European in Iran During the the During Iran in painting became more realistic during the Qâjâr era. at court and they probably met European artists and became familiar with European techniques of As a result Iranian sketching, drawing and painting. princes, who were directly in touch with European artists-travelers, commissioned Iranian royal artists to follow the western style of the descriptive rendering royal artists lived of objects and people. Moreover, purposes. These European paintings and drawings purposes. were intended as visual reports and were intentionally accurate, detailed and realistic. Qâjâr monarchs and was the presence of European artists in Iran, most of whom were sent by their governments to explore social, cultural, and political situation of Iran, gather visual information, and provide maps for military interest in European paintings of the Renaissance and interest in European paintings of the Renaissance Baroque periods and the Realism of the nineteenth One of the vital reasons for such curiosity century. During the Qâjâr epoch Iranian artists exhibited a great During the Qâjâr epoch Iranian artists exhibited Since European artists-travelers were April 18, 1823. L. E. Duhousset was born in to , , Kerman, Baluchistan, and Khurasan and studied ethnic groups such as Armenians, Bakhtiyari, Balouch, the Lour, fast He provided hundreds of Turkamens. and sketches in pen and ink, and watercolor drawings of soldiers and their weapons, men and women ethnicities, the monarch Naser-al- from different Din Shâh and his courtiers, attendants, servants, holy shrines, bridges, mountains, lakes, cities, expected to produce visual information expected to produce visual information about Iran, their paintings and drawings in were intentionally graphic and explicit were detail. European paintings and drawings foreign intended as visual reports, revealing to and governments vital information on the land Louis people of Iran. One of these artists was Emile Duhousset, a French artist and army officer. the He attended military school and joined he was sent to Iran in 1858, As an officer, army. requested the French Shâh when Naser-al-Din the government to send a group to instruct Persian army based on French standards. Since Duhousset was very interested in anthropology more than 600 he prepared and human ethnicity, provinces on drawings of people from different year later he traveled A Tehran. their way to

3 While on his

2 Also, Jules Laurens traveled to Iran and Shâh’s aunt, Farah Khanoum(Lady Farah) in the aunt, Farah Shâh’s this was an opportunity for private harem; Shâh’s him to get some information about harem life. during Mohammad Shâh’s reign. during Mohammad Shâh’s mission of travel to Iran, Laurens provided many sketches and drawings of people and landscapes. The advantage He went back to in 1850. Laurens had over other artists was that he was allowed to paint a portrait of a royal princess, the KermanShâh, Isfahan, Shiraz, and . KermanShâh, Isfahan, Shiraz, and Persepolis. to After two and a half years, they returned Iran on album six-volume a published and France in 1851. on a government mission in July 1847 Turkey environment under the rule of Mohammad Shâh environment under the rule of Mohammad The leader of this mission, (ruled 1834-1848). his Edouard De Sersi, was unable to manage political duties in Iran, and the government Flandin and Yet, recalled him to France. Coste stayed in Iran and traveled to Hamedan, For instance, Eugene Flandin, an Italian-born For instance, Eugene Flandin, an Italian-born a artist who lived in Paris, and Pascal Coste, in French artist, were sent to Iran on a mission political 1840 to collect information about Iran’s Unfortunately, no information about this canvas no information about Unfortunately, has been found. Fig. 1

Golestân-e Honar 8, Summer 2007  Golestân-e Honar 8, Summer 2007  Fig. 2

10 and Jane Dieulafoy, the and Jane Dieulafoy, 11 The second artist, Edwin The second 13 Also, Henry Blocqueville de Also, Henry Blocqueville 14 introduced different aspects and introduced different 12 and Pascal Coste, who accompanied 9 Three other artists traveled to Iran as well. created hundreds of canvases and drawings of created hundreds of canvases and drawings and cityscapes, monuments, picturesque views, people, Iran, and India. was born in Boston in 1849 and Weeks, Lord died in Paris in 1903. He traveled to India in and Persia. He published Turkey 1882 through the book From the Black Sea through Persia and India and exhibited his oil paintings in Paris, Berlin, Munich, London, Boston, and Philadelphia. Flandin and was in charge of making the of making Flandin and was in charge the engravings of architectural depictions of fig 2). monuments and drawing war scene (see drawings and paintings Colombari’s Colonel F. of battle scenes were studied by the military commanders in Iran, of wife of a French officer whose drawings parts of Iran are still studied today by different historians, to styles of nineteenth-century European painting Iranian patrons and artists (see fig 3). who Born The first was Emile Prise d’Avennes, in Paris in 1879. in 1807 and died Avennes in He was an archaeologist, artist, and illustrator. The artist traveled to Egypt, Palestine, Syria, 6 6 His human figures His human 4 Some of his landscape 7 These drawings suggest that the These drawings suggest that 5

8 Other artists contributing important Another artist Alberto Pasini was born in Another artist Other artists–travelers invited to the royal Other artists–travelers invited to the royal information included Eugene Flandin, who Arabia, , and Syria to the Salons in Arabia, Paris. Pasini was also commissioned to paint works The artist returned of art for the royal family. to in 1856 and sent his paintings of Persia, on Naser-al-Din Shâh.” Pasini’s drawings Shâh.” Pasini’s on Naser-al-Din fascinated the monarch and he asked the artist to accompany him on hunting trips and his travels. In 1851, he moved to Paris, met Prosper Bourre, and traveled to Iran with him “on an official mission to counteract the Russian influence in winter. in winter. Basseto in 1826 and died in Cavoretto in 1899. later in his studio. sites in paintings, drawings, and sketches of the especially Iran indicate the hardship of traveling, and commissioned him to do more oil paintings. Laurens painted outdoor As a landscape painter, canvases in a realistic manner to be completed were fascinated with their realistic style and were fascinated with their realistic style their techniques. For example, in his journal, was Jules Laurens states that Mohammad Shâh Shâh delighted with the portrait he made of the court while accompanying diplomats also court while accompanying diplomats also to the had the opportunity to show their work The rulers monarchs or paint their portraits. with the art teachers and even the students (see with the art teachers and even the students fig1). educators in the military department of the Dar- educators in the military department of al-Fonoun School, and there is a good chance that he shared some of his works and techniques Shâh, some of the princes, and probably the royal Shâh, some of the princes, Duhousset’s to introduced were time the of artists the artist was one of the technique. Moreover, and provided at least two sketches of the Shâh, and provided at least monarch himself is drawing in one of which the Duhousset. contain accurate details of the costumes and contain accurate details sitters identifying them characteristics of the and ethnicity. gender, as to their rank, position, Shâh court of Naser-al-Din Duhousset visited the works were exhibited at the Science Academy. Academy. exhibited at the Science works were printed Ministry of Education The French in a book. his drawings and gates of the cities. He left Iran after three after three left Iran cities. He of the and gates Napoleon III drawings impressed years. His In 1863, his the empress, deeply. and Eugenie,

, Paris, Paris, , Encyclopedia , vol. V (2005), pp. pp. (2005), V vol. , Nineteenth Century Art: Safari Beh Iran, Duhusset Qâjâr Studies, Journal of the , http: //www.iranica. com/ articles/ com/ //www.iranica. http: , The Orientalists Painter. Travelers 1828- , London: Thames and Hudson, 1998. 1998. Hudson, and Thames London: , Women as Portrayed in Orientalist La Persa, La Chaldee et la Susiane Tarikh-e Akasi va Akasaan-e Pishgam , Paris, ACR Edition, International, 1985. International, Edition, ACR Paris, , (The History of Photography and Pioneer Pioneer and Photography of History (The . , Paris, ACR Edition International, 1983. International, Edition ACR Paris, , Eskandari- Qâjâr, Manoutchehr. “Mohammad Shâh Shâh “Mohammad Manoutchehr. Qâjâr, Eskandari- Colombari’s Colonel and Jadid Nezam-e Oajar’s in: Zambourakchis”, International54-62. Qâjâr Studies Jean. Dieulafoy, Asso1887. Hachette, Librairie ciation Yahya. Zoka, dar Iran reasons for the raise of Realism in Iranians reasons for the raise of Realism in Iranians painting of the nineteenth century. ‌Bibliography Eisenman, F. Stephen Eisenman A Critical History Lynne. Thornton, 1908 Manuchehr. Farman-Farmayan, Bonyad Tehran, Duhousset), Persia, to Voyage (The 1977. Iran, Farhang Lynne. Thrnton, Painting in: Coste”, and “Flandin Jean. Calmard, Iranica Encyclopedia Iranica

15 The presence of Western artists in Iran Western The presence of artists and patrons, particularly subject matter and social individuality, displaying adversity, and gender, owing to rank, ethnicity, differences As a result European artists traveling careers. to Iran should be considered as one of the main and were introduced to European techniques of perhaps, Unintentionally, drawing. and sketching European artists left behind visual elements of the descriptive rendering art, specifically Western European of aspects Some people. and objects of realistic painting found favor with Iranian primary patrons of art, Qâjâr monarchs, who primary patrons of art, Qâjâr monarchs, were directly in touch with artists–travelers, Iranian royal artists to emulate the style of urged these European artists. Since royal artists lived at court, there is a high probability that they met European artists and even were trained by them He also joined the army as Sergeant of the Royal He also joined the army as Sergeant military of recording Guard and was in charge equipment and war scenes in paintings. of increased the awareness of and popularity As the new styles and techniques in painting. Couliboeuf was a French physician, painter, and Couliboeuf was a French physician, painter, 1858. photographer who traveled to Iran about Fig. 3

Golestân-e Honar 8, Summer 2007 10 Golestân-e Honar 8, Summer 2007 11 Beh Iran,

Safari La Perse, la Chaldee et la , p. 7. Tarikh-e Akasi va Akasaan-e Women as Portrayed in Orientalist The Orientalists Painter-Travelers , p. 41. , p. 80. As Thornton states, Eugene Flandin Thornton As , p. 80. , p. q. , 204. . 15 See Yahya Zoka, Yahya 15 See Pishgam dar Iran Susiane Thornton, op. cit., p. 264. 13 See Thornton, op. cit., p. 267. 14 See he provided many sketches and paintings. Iranian he provided many sketches and paintings. sketches of battle commanders used Colombari’s scenes for studying war techniques. 12 See Jean Dieulafoy, during Mohammad Shâh’s reign, and served in the during Mohammad Shâh’s of Iranian military as an advisor until the death the monarch in 1848. Like other travelers-artists 9 Jean Calmard, “Flandin and Coste”. 10 Jean Calmard, “Flandin and Coste”. “Mohammad Manoutchehr M. Eskandari-Qâjâr. 11 1833, Shâh Colonel Colombari traveled to Iran in Painting 7 Eisenman, op. cit., p. 246. op. cit., pp. 124–125. Thornton, 8 4 See Manuchehr Farman-Farmayan, Duhousset 9. 5 See Farman-Farmayan, op. cit., pp. 7 and Thornton, 6 Lynne in 1879. Thornton, to According op. cit., p. 80. Thornton, 3 and died Jules Laurens was born in Carpentras in 1825 in Saint-Didier in 1901. 1828–1908 in 1876. was born in Naples, in 1803, and died in Paris and died Pascal Coste was born in , in 1787, production is guided and income distributed largely income distributed largely production is guided and of markets.” __ Eisenman, through the operation NineteenthThornton, 2 Lynne Century Art enterprise economic system, dominant in the Western Western dominant in the enterprise economic system, of feudalism, in which most world since the breakup are privately owned and of the means of production around Africa’s southern coast (1488) and of America southern coast (1488) and of Africa’s around these events sea power shifted from the With (1492). and to the emerging… Atlantic Mediterranean to the or free free market economy, Capitalism: also called Endnotes: began about 1500, of modern colonialism 1 “The age of a sea route European discoveries following the Photographers in Iran), Tehran, Elmi va Farhangi Farhangi va Elmi Tehran, Iran), in Photographers 1997. Publishing,