In English: Artistic analysis of a Pompeian painting (Scene Situated in the House of the Pygmies) of a Pompeian painting (scene situated in the House of Pygmies)

Overview of fresco

This scene is represented in the House called Pygmies of Pompeii, and was fresco on one wall of the room 8 thereof. Although there other paintings on various subjects were discovered, as representing a cupid or a couple of painters, this scene has been the most important, due to its considerable size and His industry. Therefore, this area of ​​the Roman insula in question has adopted the name House of Pygmies. The representation of scenes where the protagonists are pygmies became a common theme not only to Pompeii, but the entire Roman Empire. The Pygmies were regarded as the native inhabitants of Egypt, and were often figured as human creatures affected by dwarfism, black leather and dark curly hair, which were arranged in a river (the Nile) to hunt hippos, cranes and crocodiles as well to collect reeds and other plants in the thick fluvial flora. So, they are included within those hunter-gatherer tribes coming from distant lands whose existence was due to survival in the middle. Something totally out of such an organized and grandiose as the Roman civilization, which however was admired and widely used in pictorial representations and musivarias as an example of savage peoples and life in nature.

Thus, one can observe a landscape from afar, from a viewpoint slightly choppy, standing vertically, being taller than wide scene. Cool shades of faded increasingly due to the passage of centuries, and the consequences this has to use a water-based technique. Other than that, the elements located in the background is significantly more volatile, as covered by a haze, those placed in the foreground, brighter. On the other hand, the painter decided to use a shader that brings great realism to the scene, and that is evident in every painting.

                                                             Background

Despite the dominance of the line on the color, it seems that the author has chosen to define less precisely those figures that are placed in the background, ie, those at the top standing '' further '' the observer.

Crocodile being tempted by a native

This is the case of many elements represented. From left to right an alligator rising from the river to a promontory of land where a pygmy lies relatively close to the water that is enticing the animal to drag it to the surface and then hunt is shown.

Pygmies performing some activity

Continuing along the same direction another couple of natives who perform an activity together appears, but is unknown because they are located too far and lost too cool color over time.

Native fishing on a boat in the Egyptian style

Meanwhile, at the bottom of the mound, and in the river, there are cranes that fly, and on the far right a boat Egyptian style with two characters who are inclined to fish appears.

Flora of the Nile

At the bottom of this blurred background a plant but very own thick of the Nile is represented. With the atmosphere generated by the technique used can imagine moisture and heat of the place.

Foreground

Hippo and ducks

In the foreground are elements with a sharper picture, which help to appreciate and differentiate well the boundaries between some figures and others. There is also a use of brighter colors. On the left side, starting again from there, an exalted hippo opens its mouth and slightly raises its front legs in a threatening manner; all this making a slight foreshortening. It is surrounded by river vegetation, such as leaning on a higher part of the river bed, for example, pairs of ducks surrounding symmetrically swimming through the water. The ducks are above the west, while those below are to the east, creating a contradiction of the senses that brings the whole dynamism, including granting the frightened hippo.

Main pygmy

Pygmy advancing toward the giant pitcher

Clockwise and abundant land, ocher hue, like desert sand shown. A pygmy, which highlights its strong brown skin, almost black, and its abundant curly hair and body disproportion progresses eastward, advancing and supporting his right leg on the floor and lifting and turning left at the same gesture running. Their clothing, consisting simply of a beige loincloth is also perceived; the natural color of the fabric empleado.Presenta all standard features of the representation of this ethnic group (dwarfism, black, primitive attire, etc.) Man carrying two buckets of water to hold the ends of a stick of wood bends in the middle due to the weight. A pitcher of large and rounded, a brownish-reddish hue, appears at the leftmost end, and is where the pygmy is directed to pour water it carries. After the mouth of a palm larger container having the extremely narrow bottom trunk stands. The curved shape of the stem to climb gives a sinuous appearance to the plant.

Bridge that connects to the mainland

Furthermore, at the bottom where it is located a bridge pygmy covered by a flat roof and pillar shown holding it. This bridge connects the area of land by walking the native with another zone arranged in the lowest place of work. It is also a land of ocher hue, but mixed with the gray color of the water, which gives the appearance of quicksand.

Fantastic architecture

Greek-inspired architecture, which resembles a temple

Behind the pygmy an architecture that can not be framed in style figure; looks fantastic. Appears symbolized a building gable pediment which is topped by a golden pitcher, for acroterion. It is similar to a Greek temple construction, because a portico with several columns is observed (but can not be counted accurately), an entablature and pediment already cited. By his side is open in the portion corresponding to the pronaos.

Obelisk

Thus, a kind of obelisk topped by a rectangular element is also shown, and right behind him a crocodile yellow that is in the river, swimming westward appears. The obelisk is to the left of the naos of the temple, next to the shore.

Indoor architecture

In front of the obelisk and the temple is a crouched and rectangular structure that is protected by a red tent in a similar water vessel tone. Canvas, in turn, stands holding onto the side of the temple (left, front view architecture). In addition, underneath further elevates an already dead giant tree.

Buildings in the background

In the background of those buildings appear more blurred and camouflaged with the river, which are like two towers or pylons adorned with battlements, which are connected by a suspension bridge. Among them, after the middle of the bridge, a golden tower topped by a large molding which in turn is adorned by a cupulino it stands. It's seen quite faded compared to the towers. Behind these two elements there is a hut, to which he can recognize well with its thatched roof, which retains its bright yellow hue. Finally, under the bridge Pendant Two Pygmies are located making the gesture of collecting reeds together.

Análisis artístico de una pintura pompeyana (escena situada en la Casa de los Pigmeos)

Vista general del fresco

Esta escena aparece representada en la llamada Casa de los Pigmeos de Pompeya, y fue pintada al fresco sobre una de las paredes de la habitación 8 de la misma. A pesar de que allí se descubrieron otras pinturas de temática diversa, como la representación de un Cupido o de un par de pintores, esta escena ha sido la más relevante, debido a su considerable tamaño y su gran laboriosidad. Por ello, esta zona de la ínsula romana en cuestión ha adoptado el nombre de Casa de los Pigmeos. La representación de escenas donde los protagonistas son pigmeos se convirtió en un tema común no sólo a Pompeya, sino a todo el Imperio romano. Los pigmeos eran considerados como los habitantes nativos de Egipto, y solían ser figurados como criaturas humanas afectadas de enanismo, de piel negra y cabello oscuro y rizado, que se disponían en un río (el Nilo) para cazar hipopótamos, grullas y cocodrilos, así como para recolectar cañas y otras plantas entre la espesa flora fluvial. Así, se los incluía dentro de aquellas tribus cazadoras-recolectoras venidas de tierras lejanas cuya existencia se debía a la supervivencia en el medio. Algo totalmente alejado de una civilización tan organizada y grandiosa como la romana, que sin embargo era admirado y muy utilizado en las representaciones pictóricas y musivarias, como ejemplo de los pueblos salvajes y la vida en la naturaleza.

Así, se puede observar un paisaje desde la lejanía, desde un punto de vista ligeramente picado, que se coloca de forma vertical, siendo más alta que ancha la escena. Las tonalidades del fresco se apagaron cada vez más debido al paso de los siglos, y las consecuencias que esto tiene al utilizar una técnica basada en agua. Aparte de eso, los elementos situados en un segundo plano resultan bastante más volátiles, como recubiertos por una neblina, que aquellos colocados en el primer plano, más luminosos. Por otro lado, el pintor decidió utilizar un sombreado que aporta un gran naturalismo a la escena, y que está patente en toda la pintura.

                                                           Segundo plano

A pesar del predominio de la línea sobre el color, parece ser que el autor ha preferido definir con menos precisión aquellas figuras que se sitúan en un segundo plano, es decir, aquellas de la parte superior que se colocan ''más lejos'' del observador. 

Cocodrilo siendo tentado por un nativo

Es el caso de los numerosos elementos representados. De izquierda a derecha se muestra un cocodrilo que asciende desde el río hasta un promontorio de tierra, donde se sitúa un pigmeo relativamente cerca de las aguas que está tentando al animal para arrastrarlo hacia la superficie y después cazarlo. 

Pigmeos realizando algún tipo de actividad

Siguiendo por la misma dirección aparecen otro par de oriundos que realizan una actividad juntos, pero se desconoce cuál debido a que se sitúan excesivamente lejos, y el fresco ha perdido demasiado color con el paso del tiempo. 

Nativos pescando sobre una barca de estilo egipcio

Mientras, en la parte inferior del montículo, ya en el río, hay grullas que revolotean, y en el extremo más derecho aparece una barca de estilo egipcio con dos personajes que se inclinan para pescar. 

Flora del Nilo

En el fondo de este segundo plano se representa una flora desdibujada pero muy espesa propia de la orilla del Nilo. Con el ambiente generado por la técnica usada se puede imaginar la humedad y el bochorno del lugar.

Primer plano

Hipopótamo y patos

En el primer plano aparecen elementos con un dibujo más marcado, los cuales ayudan a apreciar y diferenciar bien los contornos entre unas figuras y otras. También hay un empleo de colores más brillantes. En la parte izquierda, empezando de nuevo por ahí, un hipopótamo exaltado abre sus fauces y levanta ligeramente sus patas delanteras de forma amenazante; todo esto realizando un ligero escorzo. Se encuentra rodeado de vegetación fluvial, como apoyado en una zona más alta del lecho del río que, por ejemplo, las parejas de patos que lo rodean de forma simétrica nadando por el agua. Los ánades de arriba van dirección oeste, mientras que los de abajo van en dirección este, creando una contradicción de los sentidos que aporta dinamismo al conjunto, incluyendo el que otorga el hipopótamo espantado. 

Pigmeo principal

Pigmeo que avanza hacia el cántaro gigante

Hacia la derecha ya se muestra abundante tierra firme, de tonalidad ocre, como la de la arena del desierto. Un pigmeo, del que destaca su fuerte piel marrón, casi negra, así como su abundante cabello rizoso y su desproporción corporal, avanza hacia el este, adelantando y apoyando su pierna derecha en el suelo, y levantando y doblando la izquierda en el mismo gesto de correr. Se percibe también su indumentaria, que consta simplemente de un taparrabos beige; el color natural del tejido empleado.Presenta todos los rasgos convencionales de la representación de esta etnia (enanismo, raza negra, atuendos primitivos, etc.) El hombre porta dos cántaros de agua que se sostienen a los extremos de una caña de madera que se doblega por el centro debido al peso. Un cántaro de grandes dimensiones y forma redondeada, de una tonalidad marronácea-rojiza, aparece al extremo más a la izquierda, y es adonde se dirige el pigmeo para verter el agua que transporta. Tras la boca del recipiente más grande se yergue una palmera que tiene el tronco tremendamente estrecho por su parte inferior. La forma curvada del tallo al ascender le da una apariencia sinuosa a la planta. 

Puente que se conecta a tierra firme

Por otro lado, en la parte inferior de dónde se sitúa el pigmeo se muestra un puente cubierto por un techo plano y pilares que lo sujetan. Este puente conecta el área de tierra por la que camina el nativo con otra zona dispuesta en el lugar más bajo de la obra. Es un terreno de tonalidad ocre también, pero mezclada con el color grisáceo del agua, que le da la apariencia de arenas movedizas. 

Arquitectura fantástica

Arquitectura de inspiración griega, que se asemeja a un templo

Detrás del pigmeo se figura una arquitectura que no se puede encuadrar en un estilo; parece fantástica. Aparece simbolizado un edificio a dos aguas, cuyo frontón está coronado por un cántaro dorado, a modo de acrótera. Es una construcción similar a un templo griego, pues se observa un pórtico con varias columnas (aunque no se pueden contar con exactitud), un entablamento y el frontón ya citado. Por sus laterales está abierto en la parte que corresponde a la pronaos. 

Obelisco

Así, también se muestra una especie de obelisco coronado por un elemento rectangular, y justo detrás de él aparece un cocodrilo de color amarillo que se sitúa en el río, nadando dirección oeste. El obelisco está a la izquierda de la naos del templo, al lado de la orilla. 

Arquitectura cubierta

Delante del obelisco y del templo hay una estructura agachada y rectangular que está protegida por una carpa roja de un tono similar al recipiente del agua. La lona, a su vez, se levanta sosteniéndose a un lateral del templo (el izquierdo, vista la arquitectura de frente). Además, por debajo la eleva todavía más un árbol gigante ya muerto. 

Edificaciones del fondo

Al fondo de las construcciones citadas aparecen otras más difuminadas y camufladas con el río, que son como dos torreones o pilonos adornados con almenas, que están conectados entre sí por un puente colgante. Entre ellos, tras la mitad del puente, se yergue una torre áurea rematada por una gran moldura que a su vez está adornada por un cupulino. Se la aprecia bastante desvanecida respecto a los torreones. Detrás de estos dos elementos hay una cabaña, a la cual se la puede reconocer bien gracias a su techo de paja, que conserva brillante su tonalidad amarillenta. Por último, debajo del puente colgante se sitúan dos pigmeos haciendo el gesto de recolectar cañas juntos.

In English: Orientalist painting theme

• Presentation.

Orientalist painting can be defined as the derivative theme of the Romantic movement (XIX century hence), whose main characteristic is the representation of topics from Asia. 


Often, the painters of this stream deepen figuration of the Middle East, interspersed occasionally (as with David Roberts or Edwin Lord Weeks) areas of Spain, but always moorish, dealing with special sympathy cities of Cordoba and Granada. It will also feature academicism and streams.


It will also be very important figuration of Ancient Egypt; stage of the mythologized history and seen as glorious especially Edward John Poynter.

However, this representative trend, the rise begins in the third decade of the nineteenth century also has some precedents that will be useful to know to understand its subsequent routing.

• The beginnings of Orientalism I: The conquests of Napoleon Bonaparte reference.

 ''Battle of the Pyramids'', by Jean-Antoine Watteau (1798-1799).

The precursors of this taste for East are located further away in time that the two authors cited above. They would be framed in France in the eighteenth and early nineteenth century. One of the most important is the frank Jean-Antoine Watteau (1684-1721). Because his paintings set in Egypt, it could be considered within the first Orientalists. But this right can be granted fully, because its themes are only interested in appearing '' almost fully historically 'campaigns conqueror and dictator Napoleon Bonaparte in the East. A famous example of this is the ''Battle of the Pyramids'', (1798-1799).

 ''Battle of the Pyramids'', by Louis François Lejeune (1808).

For the same line continues the eponymous ''Battle of the Pyramids'', (1808), by the Frenchman Louis François Lejeune; slightly later painter.

• Los inicios del orientalismo II: Primeros autores que utilizan dicha temática.

-Jean-Auguste-Dominique Ingres (France, 1780-1867):

Jean-Auguste-Dominique Ingres (France, 1780-1867): Dominique Ingres can be considered as the original "orientalist", since it introduces the first works set in the Asian world (courtly scenes). However, a fundamental question not allowed to settle as orientalist: this painter is scarce as to works of this theme. It is more inclined to portraits of royalty and the aristocracy, mythological or religious themes. In addition, Ingres is not a romantic. It belongs to the academic. However, it is not so momentous to be romantic, as Gérôme was not and could be considered orientalist. What conditions to Dominique Ingres is precisely its few representations based in the East. However, "Grande Odalisque" (1814), in addition to having passed to the history of art as an innovative work in many ways, can be seen as the first completely orientalist painting, because it symbolizes a young Turkish concubine at the beginning of the second decade of the 19th century, when Orientalism "starts" in 1830 about. This author's work is, without doubt, precursor of subsequent issues.

 ''La Grande Odalisque'', (1814).

''Odalisque with Slave'', (1840).

''The Turkish Bath'', (1862).

-Eugène Delacroix (France, 1798-1863):

Eugène Delacroix, author and purely romantic (unlike Dominique Ingres), with its extensive pictorial theme that covers roughly Greek mythology, biblical episodes, revolutionaries (like '' Liberty Leading the People ''), etc., also perform regularly the world of the Orient in his works.

It is true that his paintings of Orientalist themes are completely synchronous to those of other authors born later, but it is important assimilation of this current by the tremendous variety of issues which normally played. For this away from purely Orientalist artists.

''A moorish couple on ther terrace'' (1832).

''Mounay ben Sultan'' (1832).

''The Women of Algiers (in Their Apartment)'', (1834)

''Jewish Wedding in Morocco'', (1839).

''The Bride of Abydos'' (1837).

• Consolidation of the subject. Africanism as '' light '' split.

-David Roberts (Scotland, 1796-1864):

With David Roberts, and from it and similar contemporaries, a group of artists linked entirely to the 'branch' of romanticism called Orientalism takes hold.
They belong to all parts of Europe, but also come to America (as Edwin Lord Weeks), so we can say that the taste for East is a highly successful current.

''Court of the Lions'' (1835).

''Bazaar in the street leading to the Mosque El Moo-Ristan, Cairo'' (1838).

''Treasury'' (1839).

''Dancing Girls of Cairo'' (1849).

''Edfu, Horus Temple'' (1796-1864).

-Jean-Léon Gérôme (France, 1824-1904):

Linked to the representation of a lot of very disparate themes together (as Delacroix), the famous exponent of academicism, Jean-Léon Gérôme, contribute to the work of the Academy of Fine Arts in Paris paintings that are fully within the world Asia. It will resume the representation of scenes that take starring Napoleon Bonaparte, but unlike Watteau and Lejeune, seeks to demonstrate the magnificence and power of the leader. ''Bonaparte before the Sphinx'' , (1866) is a good example also continues to be set in the Eastern world (Ancient Egypt). Also reap directly the influence of ''The Turkish Bath'', (1862) by Dominique Ingres in his ''After the Bath'', (1881), although the latter work is much more modest gestures and contents.

''Bonaparte before the Sphinx'', (1866).

''The Slave Market'', (1871).

''The Almeh'', (1873).

''After the Bath'', (1881).

''The Grief of the Pasha'', (1882)

. 

-Alberto Pasini (Italy, 1826-1899):

''A Mosque'' (1872).

''Circassian Cavalry Awaiting their Commanding Officer at the Door of a Byzantine Monument; Memory of the Orient'' (1880).

''Mercato in Oriente'' (1881).

''Three Arabs In A Courtyard'' (1887)

''The watermelon merchant'' (1826-1899).

-José Tapiró y Baró (Spain, 1836-1913):

José Tapiró y Baró is an Orientalist author. However, within the exposed marks a noticeable difference to evoke a systematic way the people and places of Spanish Morocco. This is usually also the figuration of the dominant blacks in this country; represented a breed of unusual shape, except perhaps in Jean-Léon Gérôme. Spanish Orientalist painters tend to then display the African colonies, which are possession of this country, distancing Tooth Arabia. This will lead to an aspect of Orientalism: Africanism. In Spain will be the dominant theme.

''Bride Berber'' (1883).

''Beauty of Tanger'' (1891).

''Santón darkawía de Tafilalt'' (1895-1900).

. "Preparations for the wedding of the daughter of the sheriff of Tangier" (1836-1913).

''Moroccan man'', (1836-1913).

-Edward John Poynter (England, 1836-1919):

''Feeding the Sacred Ibis in the Halls of Karnac'' (1836).

''Adoration to Ra'' (1867).

 ''Israel in Egypt'' (1867).

 ''Zenobia Captive'' (1878).

''The Visit of the Queen of Sheba to King Solomon'' (1884).

-Jean-Joseph Benjamin-Constant (France, 1845-1902):

''Le soir sur les terrasses (Maroc)'' (1879).

''The Favorite of the Emir'' (1879).

''Judith'' (1886).

''The Pink Flamingo'' (1887).

''Afternoon Langour'' (1845-1902).

-Gustav Bauernfeind (Germany, 1848-1904):

''Forecourt of the Ummayad Mosque, Damascus'' (1890).

''The Gate of the Great Umayyad Mosque, Damascus'' (1890).

''The Wailing Wall, Jerusalem'' (1904).

''Bazaar in Damascus'' (1848-1904).

''View of Jerusalem'' (1848-1904).

-Edwin Lord Weeks (United States, 1849-1903):

  ''Jumma Musjed, Lahore India'' (1876).

''Interior of the Mosque at Cordova'' (1880-1889).

"Inside the Tower of the Three Princesses" (1881-82).

''Festival At Fatehpur Sikri'' (1885).

''The Nautch'' (1849-1903).

-Étienne Dinet (France, 1861-1929):

''Sous les lauriers roses'', (1907).

''Lavandières dans l'oued, Bou Saada'', (1861-1929).

''Jeunes baigneuses au bord de l'Eau'', (1861-1929).

''Amoureux dans la palmeraie, clair de lune'', (1861-1929).

''Oriental Carrying a Tray'', (1861-1929).

• The end of Orientalism. Birth of new trends cut exotic (to exemplify, Japonisme and primitivism).

However, the decline of Orientalism is inevitable despite not mean it disappears completely. Étienne Dinet is a good example of the last artists interested in this topic current. It works like '' lauriers Sous les roses '' which are placed at the beginning and the XX century (1907, specifically).

At this time, the romance has declined somewhat favoring the success of subsequent trends and the most varied (realism, impressionism, post-impressionism, symbolism and historical vanguards, these other solely belong to the years of '' lauriers Sous les roses '') .

Even the romance fades away does not mean that the taste for foreign vanish with him. In fact, it starts searching, gradually, the representation of Black Africa or from the various regions of the Middle and Far East, such as India, China, Japan, Polynesia, etc. Whole 'departure from view' 'occurs. However, not only is it pretend to reflect these places in the paintings, but also take thereof aesthetic elements, in order to insert them into the same Western art.

So does, for example, Pablo Picasso, using African masks to shape the faces of the ''Les Demoiselles d'Avignon'' (1907). Amedeo Modigliani works equally well with his ''Head of a Woman'' (1910).

This really arises from the impending attraction that felt different artists from the second decade of the nineteenth century by the overseas territories that owned their home countries. Can be equated to a '' second Orientalism '' if you will, for the purest essence of this issue is the desire to capture the alien and foreign.

However, such '' pull '' can not encompass in a single subject, such as Orientalism, nor anchored in an artistic movement. This last reason is fundamental. For example, Vincent Van Gogh, who is an author enrolled in a personal movement (though also closely linked to post-impressionism), mimics in many of his paintings to Japanese art, using as reference ''Sudden Shower Over Shin-Ohashi Bridge and Atake'', (1857), Utagawa Hiroshige, for' ''Bridge in the rain, after Hiroshige'' (1887). With this, Van Gogh is introduced into the Japonisme, an artistic movement that arises after the trade agreements established between the Netherlands and Japan, which allow opening of China to the West, and trafficking of artistic influences between the two cultures.

A similar current is primitivism, emerged with the discovery of several novel territories caused by colonization during the eighteenth and nineteenth centuries by France and Britain, mostly. This led to some artists travel to unusual areas, which no longer had anything to do with the Middle East, but that did not stop being exotic. Unlike the mythical eastern areas, many of the cultures that inhabited these new colonies were quite incomprehensible in the eyes of the traveler (regardless the Middle East and Far East). Not trying to companies grouped in cities but in villages and organized into tribes, not monarchies, as in Asia. Thus, normally uncivilized were qualified and even barbarous greater or lesser extent.

Thus, very commonly, the famous Polynesian islands are a good example of this and are embodied with its '' luxury '' native inhabitants. Paul Gauguin precisely channeled their representations to the Archipelago ('' Women of Tahiti '', 1891).

On the other hand, the lush jungles of Henri Rousseau (''Two Monkeys in the Jungle'', 1909), they would always do with Asia, but with Black Africa, showing a new interest in Africa, but how more '' strange '' if you will, because in Orientalism, was that represented Africa dominated by Islam. Rousseau is also a primitive, like Gauguin, and exponent of naïve art par excellence. In his ''exotic 'works' will mix different jungle landscapes, grouping animals of certain endemic species with other regions of entirely opposite, which is understandable considering he had not even traveled outside his native France.

Various currents as shown in these last paragraphs make clear this new hodgepodge of artistic tendencies always tornadas to symbolize the strange, that put an end to some extent, the previous Orientalism.