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Selected Bibliography 335



Index

Abbas, Ferhat, 248, 250 ism, 18, 21, 34, 51, 53, 55, 66, Alexandre, Arsène, 79, 86, 92,
Abd-el-Kader, 12, 13, 15, 191, 69, 82, 84, 89, 100, 103, 160, 144–45, 147, 150, 157, 174, 195–
174, 180, 259, 278, 289n40; and 97, 199, 202, 236, 240, 258, 259,
286n57 pointillism, 137; and Prouvé’s 281, 318n26
Abd el-Krim, 177, 177, 217, 227 art, 259; and realism, 66, 82, 84,
Abd-el-Tif. See Villa Abd-el-Tif 89; and Renoir’s art, 55; and Algeria: anticolonialism in, 8, 16,
Abstraction: in Algerian indige- traveling scholarships, 130, 137; 29–30, 36, 120, 191–92, 247,
waning of, 31 248, 268; Bénédite ’s travels
nous art, 1; in Matisse ’s art, Académie des Beaux-Arts, 288n35 in, 59, 258; Besnard’s depiction
160, 170, 179–81, 185, 189–90, Académie Française, 28, 251 of, 53; Besnard’s travels in, 269;
279; in Rodin’s art, 204 Académie Julian, 100 Carré’s depiction of, 149–50;
Abu-Lughod, Janet, 201, 310n34 Aesthetics. See Art criticism; Cauvy’s depiction of, 147; cen-
Abyssinia, 67, 113, 132–33 Theory of art tenary of, 7–8, 249–57, 260,
Academic tradition: and Bernard’s Ageron, Charles-Robert, 23, 250, 261, 266, 271, 272, 273, 275,
art, 89; and Bouguereau’s art, 252 276, 317n17, 322n93; Chassé-
84; and colonialism, 82; and Agutte, Georgette, 161, 179, riau’s depiction of, 61; corsairs
Dinet’s art, 100, 103, 271, 293n7 in, 246, 247; Cottet’s depiction
289n40; and ethnography, 18, Alaoui, Brahim, 228 of, 83; De Buzon’s depiction
34; and exoticism, 153, 159, Alazard, Jean, 6, 7, 41, 48, 145, of, 152–53; decorative art of,
160; and Fromentin’s writings, 147, 151, 153, 259–61, 263– 151–53, 186, 191, 195–200, 210,
18, 28; and Gérôme ’s art, 69, 73, 275, 277, 279, 318n34, 217–19, 236, 269, 271, 273;
180; and Herzig’s art, 199; 319–20n57, 319nn44,47,48,56, destruction of indigenous
and impressionism, 34, 51, 279, 320nn60–61,72, 321n87 culture in, 12–13, 15, 36, 201,
289n40; and Kleiss-Herzig’s Album spéciale des Peintres 247; Dinet’s activity in, 59, 73,
art, 271; and Lazerges’s art, Orientalistes, 74, 77 92, 98, 102, 135–37, 161, 251,
259; and Matisse ’s art, 174; Alési, Hugo d’, 114 255, 269, 281, 295n61, 317n8;
and Meissonnier’s art, 84; and Dufresne ’s depiction of, 154–
naturalism, 55; and Oriental-

Algeria (continued) 258, 273; traveling scholarships of the Deys in, 13; Palace of
56; Eberhardt’s activity in, to, 130, 132; Vernet’s depiction the People of Algiers (Palais
101–2, 144; Evenepoel’s travels of, 295n44. See also names of d’Eté) in, 151–53, 219, 258,
in, 169; French colonial policies specific cities and sites 303n73; Place du Gouverne-
in, 29–30, 36, 191–95, 202, 223, Algiers: Bardo Museum in, 256– ment in, 13, 14, 266; Moham-
250–51, 309n4; French colonists 57, 271, 273; Bénédite ’s stays med Racim’s depiction of, 222;
in, 15, 36, 65, 102, 144, 192, 251, in, 6, 59, 146, 258; Ketty Carré’s Renoir’s depiction of, 37–43,
263; and French exhibitions, residence in, 150, 269; Léon 45–48, 55, 168; Renoir’s descrip-
59–60, 64–65, 66, 106–10, Carré’s residence in, 150, 269; tion of, 41, 48; Renoir’s stays
114, 125, 127, 161, 217–19, 244; Casbah in, 19, 36, 37, 38, 40, in, 31, 36–37; Rochegrosse ’s
French military activity in, 12, 164, 181, 192, 197, 198, 236, 271, residence in, 66; Silbert’s de-
15–16, 27, 30, 36, 114, 120, 191, 308n76; Cauvy’s depiction of, piction of, 124; Villa Abd-el-
200; Fromentin’s depiction of, 147; centenary celebration in, Tif in, 7, 143, 145–49, 151–55,
12, 15–17, 29–31, 40, 135, 269; 255–57; Chudant’s depiction 157, 194, 195, 223, 260, 267,
Fromentin’s description of, of, 75; Comité du Vieil Alger 269; Wyld’s depiction of,
16, 17–18, 19, 21–23, 163, 184; in, 144, 194, 197, 201, 238, 240– 12, 14
Fromentin’s travels in, 15–19; 41, 259, 302n47; corsairs in, 245; Alhambra Palace, in Granada, 26,
Gautier’s travels in, 12, 15; Dauzats’s depiction of, 13, 14, 118, 122, 248
Guillaumet’s depiction of, 53, 15; Delacroix’s depiction of, Alma-Tadema, Lawrence, 25
83, 163; Guillaumet’s descrip- 34; Ecole des Beaux-Arts in, Andalusia, 26, 118–22, 127, 130,
tion of, 53; Guillaumet’s travels 143, 147, 195, 199, 223, 237, 150, 165, 223, 245, 247, 248,
in, 37, 53; Herzig’s depiction 245, 270; ethnic heterogeneity 273
of, 199; indigenous art of, 1, 74, of, 45; French military activity Anderson, Benedict, 247
109–10, 144–45, 157, 191, 194, in, 12; Fromentin’s stay in, 17– André, Albert, 45
195–200, 217–19, 221–24, 236– 18, 19, 41, 184; Gautier’s de- André, Emile, 137
48, 271, 278; Jonnart’s adminis- scription of, 12–13; Gautier’s Angel, Pierre, 228, 320n80
tration in, 144, 152, 157, 194– stay in, 12; indigenous archi- Angèli, Louis-Eugène, 224
95, 198, 200, 202, 219, 223, 236, tecture of, 13, 15, 36, 193–95, Anticolonialism, 8, 23, 24, 79,
238, 255, 261; Landelle ’s depic- 202, 238, 240; Jardin d’Essai 81, 82, 92, 248, 276, 294n33;
tion of, 163; Landelle ’s travels in, 42, 55, 145, 154, 165, 196, in Algeria, 8, 16, 29–30, 36,
in, 37; Lebourg’s depiction of, 261; Lebourg’s depiction of, 120, 191–92, 247, 248, 268;
288n27; Lebourg’s travels in, 39, 40–41, 49, 50; Lebourg’s in Morocco, 176– 79, 211, 217,
50; Leroy’s depiction of, 163; stay in, 40; Lessore ’s depiction 225, 227, 248
Lévy-Dhurmer’s travels in, 87, of, 12, 14; Marquet’s depiction Antisemitism, 144, 252
161; Lunois’s depiction of, 74; of, 269, 270; Matisse ’s stay in, Antoni, Fernand, 151
Marquet’s depiction of, 269; 161; and modernization, 12–13, Antoni, J.-L., 147, 259, 269
Matisse ’s description of, 164, 15, 36; Mosquée de la Pêcherie Apollinaire, Guillaume, 168, 190
165; Matisse ’s travels in, 159, in, 13, 195; Mosque of Sidi Arabesque, 186, 189, 199, 203,
160–61, 163–67, 169; medersas Abd-er-Rahman in, 37–38, 38, 219, 222
(Islamic colleges) in, 194–95; 55, 259; Municipal Museum of Arabic language, 73, 98, 101, 200,
and modernization, 12–13, 15, French Art in, 59, 143, 258–60, 223–26, 237, 248
36, 165; Monet’s description 263, 271, 272, 319n56; Museum Arabs: and French colonial
of, 36, 37; Monet’s travels in, of the Casbah in, 257, 257; policies, 29; Fromentin’s de-
35–36; Napoléon III’s visit to, Mustapha Museum in, 192, piction of, 29–30, 286n53;
29, 62; nationalism in, 222, 235, 195, 256, 257, 271, 273, 310n23; Fromentin’s description of,
247, 248; Potter’s travels in, National Museum of Antiqui- 22–23; Matisse ’s description
67; Renoir’s depiction of, 34, ties and Muslim Art in, 143, of, 165; Prouvé’s description
36–43, 45–50, 55, 125; Renoir’s 192; National Museum of Fine of, 138–39; and racial stereo-
travels in, 36; Roman architec- Arts in, 1–3, 6, 7–8, 42, 145, types, 22; Renoir’s depiction
ture in, 189, 193, 238, 269; and 147, 148, 242, 249, 256, 257– 73, of, 45–46
tourism, 15, 36, 55, 114, 163, 260, 262, 275, 302n64; Palace Arago, Etienne, 59

338 Index

Architecture: Moorish, 26, 37–38, Bab-Azoun, 14, 15, 19, 284n6 Bennett, Tony, 106, 113, 116,
41, 42, 60, 106, 108, 118, 151, Bachir Hadj Ali, 248 296n16
163, 170, 181, 182, 192, 194–95; Ballu, Albert, 106
promotion of indigenous, 193– Bande Noire, 66, 135 Berbers: arts and crafts of, 77,
95, 201–2; as subject of art, 26, Banquets, Orientalist Painters’, 196, 198, 202, 206, 210, 216,
37–42, 39, 41 218; Dauzats’s depiction of, 15;
72– 74, 98 Dinet’s depiction of, 94, 100,
Argand, Paul, 62, 86 Barbarossa, 245, 247 122; Dinet’s relations with, 92,
Art collection, 52, 59, 125, 144, Barbizon school, 25, 259, 263 98, 280; and ethnography, 22;
Bardo Museum, in Algiers, 256– and French colonial policies,
147, 155, 167, 179, 213, 231, 29, 120, 176, 179, 311n54; Fro-
286n57 57, 271, 273 mentin’s description of, 21; and
Art criticism: and academic tra- Barker, Robert, 110 Mammeri’s ethnic identity, 233;
dition, 18; by Alazard, 41; by Barrias, Louis Ernest, 110 Renoir’s depiction of, 45, 46
Apollinaire, 168; by Baudelaire, Barrucand, Victor, 6, 84, 101, 143,
11–12, 82; by Bénédite, 51–54, Berbrugger, Adrien, 243, 316n64
99–100, 102, 226, 228–29, 234; 144, 149, 150, 151, 202, 215, 216, Berchère, Narcisse, 25, 268
by Castagnary, 24, 25, 27; by 219, 232, 233, 240, 244, 263, Bérenger, Henri, 279
Duranty, 29–31; by Fontainas, 264, 267, 268, 270, 279, 302n53, Bernard, Emile, 59, 87, 89, 161,
83–84; by Fromentin, 28; by 303n69, 321n80
Gautier, 12, 24, 27, 184; and Barry, François, 267 290n14; artwork of: Arab
impressionism, 29; by René Barye, Antoine-Louis, 265 Festival, 89; Cairo Merchants,
Jean, 156–57, 168, 305–6n35; by Bastien-Lepage, Jules, 98, 135, 89, 90; The Hashish Smoker,
Kahn, 230; by Roger Marx, 33, 289n40 89; Women at Market, 89
41, 50, 54, 288n27; by Mauclair, Baudelaire, Charles, 11–12, 16, 23, Bernheim de Villiers, Gaston, 6,
102, 156; and naturalism, 25, 27, 31, 82, 86, 89, 283n1, 284n9 124, 125, 126, 277, 278, 280,
286n53; and realism, 24–25, 29– Bayet, C., 200, 310n26 299n69
31; by Ricard, 223; and symbol- Bazaars, 86 Bertrand, Louis, 189, 251–52
ism, 29, 33; by Tarade, 49; by Bedouins: Dauzats’s depiction Besnard, Albert, 53, 62, 66, 130,
Vauxcelles, 306n35; by Werth, of, 15; Dinet’s depiction of, 98; 159, 160, 267, 269
127; by Zola, 286n53. See also Fromentin’s depiction of, 16, Bey, Hakky, 62, 241
Reception, critical; Theory 19, 23, 286n53; Renoir’s depic- Bey, Hamdy, 228
of art tion of, 46 Bhabha, Homi, 2, 4, 222
Art deco, 210, 215 Béguin, François, 194, 202 Bible, 21–22, 58, 69, 87, 92, 173
Artenac, Raoul d’, 238 Belgium, 29 Bing, Samuel, 62
Art history, 2, 5, 6, 17, 29, 61 Belly, Léon, 25, 52, 53, 54, 61, Biskra, 17, 37, 100, 114, 127, 149,
Art market, 3, 103, 126, 159, 168 71, 83, 125, 277; artwork of: 160–61, 162, 163–67, 169, 181,
L’art nègre, 127, 213 Pilgrims Going to Mecca, 52, 188, 281, 293n4, 297n36, 304n13
Art nouveau, 8, 62, 75, 137, 138 71, 277 Blida, 17, 169
Arts Decos. See International Ben Badis, Abdelhamid, 248, Blue Rider school, 157
Exposition of Modern Decora- 255–56 Boilly, Louis-Léopold, 320n64
tive and Industrial Arts Bénédite, Georges, 59, 66 Bompard, Maurice, 135
Assimilation, 192, 309n4 Bénédite, Léonce, 6, 17, 18, 31, Bongie, Chris, 97
Associationist policy, 192, 200, 34, 49–55, 51, 58–59, 84, 86, Bonnard, Pierre, 125, 143, 265
215–17, 219, 223, 236, 309n4 89, 154, 258, 267, 269, 278, Bonnat, Léon, 148
Atatürk, Kemal, 248 288nn34–35, 302n60; on Bonvalot, Gabriel, 62, 67, 68
Auguste, M., 268 Dinet’s art, 92, 94, 95–100, Book illustration, 150, 167, 237–
Aumale, le duc d’, 16, 286n57 102, 136, 281, 319n49; as leader 38, 269, 278, 294n27, 298n36,
Austria, 131 of Orientalist Painters, 6, 58, 303n70, 321n80
Austro-Hungarian empire, 291n25 59, 61–62, 67, 69– 71, 73, 81, Boone, Joseph, 166
Avant-garde, 29, 33, 34, 57, 59, 86, 82, 95, 106, 109, 118, 125, 126, Bordes, Pierre, 102, 251, 272,
87, 89, 124, 126, 155, 168, 190, 131, 134–35, 160, 259, 263, 278, 322n92
231, 238, 264, 289n40 292n38; on Mammeri’s art, 226, Bordone, Paul, 259
228–29, 234, 314n30 Bosnia-Herzegovina, 195, 291n25

Index 339

Botanical gardens. See Gardens artwork of: Mule Driver, 149; Christianity, 21–22, 58, 66, 69– 70,
Bouchand, Jean, 279 The Muleteer, 149, 150; Muslim 92–94, 119–20, 171, 174, 225
Boudin, Eugène-Louis, 264 Life, 151–52, 152, 153; Nude
Bouguereau, William, 84, 98, 138, Dancer, 150, plate 9; Tea in the Chudant, Adolphe, 74– 75,
Garden, 149 292n50; artwork of: Algiers —
289n40 Casablanca, 201, 204, 210, 233 Cocktail Hour, 74– 75, 76;
Bourdelle, Antoine, 265, 265 Casbah, in Algiers, 19, 36, 37, 38, exhibition poster, 75, 76
Bou-Saâda, 59, 67, 73, 92, 98, 100, 40, 164, 181, 192, 197, 198, 236,
271, 308n76 Cinema, 110
122, 135, 137, 155, 238, 269, 271, Casbah, in Tangier, 169, 173, 180– Cinéorama, 114, 116
272, 280, 322n93 84, 308n77 Clairin, Georges, 27, 138, 312n60
Boutet de Monvel, Bernard, 233 Castagnary, Antoine, 24–25, 27, Classicism, 18, 21
Bowles, Paul, 304 31, 58, 82, 117, 286n48, 287n1 Clémenceau, Georges, 23, 194,
Brangwyn, Frank, 147 Castellani, Charles, 297n26
Braque, Georges, 293n7 Cauvy, Léon, 147, 151, 218, 219, 226
Breton, André, 276 252, 270, 278 Colonialism: and academic
Bretonism, 83, 89 Cazenave, Elizabeth, 146, 147
British Museum, 259 Çelik, Zeynep, 109 tradition, 82; and aestheticiza-
Brooks, Jock, 187 Centenary of French Algeria, tion, 37, 49, 170, 179–80, 184,
Buffet, Paul, 61, 67, 132–35; art- 7–8, 249–57, 260, 261, 266, 190; and assimilationist policy,
work of: engraving of La- 271, 272, 273, 275, 276, 317n17, 192, 309n4; and associationist
garde ’s arrival, 133, 133; The 322n93 policy, 192, 200, 219, 223, 236,
King of Kaffa, 134, 134–35; Central Union of Decorative 309n4; and Bénédite ’s writings,
Negus Menelik at the Battle Arts, 210 61–62, 67; civilizing effect
of Adoua, 134 Cervantes, Miguel de, 245 of, 12, 23–24, 222, 273; and
Bugeaud de la Piconnerie, Cézanne, Paul, 34, 50, 59, 82, 124, classical antiquity, 189; and
Thomas-Robert, 16, 65 278 destruction of indigenous
Burty, Philippe, 117 Chabaud, Auguste, 124 cultures, 12–13, 36, 62, 65,
Buzon, Marius de, 147, 151– Chailly-Bert, Joseph, 200 97–98, 102, 169, 191, 193, 201,
53, 279; artwork of: Kabyle Champfleury, 24 203, 247; and Duranty’s writ-
Cortege, 152; Return from Champollion, Jean-François, 59, ings, 29–30; and economic rela-
the Market, 152, 154 290n4 tions, 23, 30, 36, 62, 64, 65, 109,
Byron, George Gordon, 90 Chanson de Roland, 120, 178 122–23; and expansionism, 7,
Byzantine art, 89, 151 Charlemagne, 120 62, 65, 79, 102; and expositions,
Charles-Roux, Edmonde, 123 7, 8, 59–60, 74, 105, 106, 109,
Cabanel, Alexandre, 138 Charles-Roux, Jules, 122–25, 123, 110, 112–13, 114, 122–27, 213–
Cabat, Louis, 18 127 15; and Fromentin’s writings,
Caillebotte, Gustave, 52, 59, 288n35 Charpentier, Françoise-Thérèse, 23; and Gauguin’s writings,
Cairo, 59, 69, 94 138 294n33; and Gautier’s writings,
Calligraphy, Arabic, 237, 273 Chassériau, Arthur de, 71, 267, 12; as global system, 4–5, 8, 9;
Cambodia, 161 278 and immigration, 59; legitima-
Cambon, Paul, 192 Chassériau, Théodore, 19, 61, tion of, 12, 23–24, 30, 31, 79,
Camoin, Charles, 124, 161, 180 71, 96, 125, 161, 268–69, 277, 81–82, 95, 217, 252; and Loti’s
Capitalism, 23 319n49; artwork of: Arab writings, 169; and mimetic
Cardonne, Elisabeth, 17 Chiefs, 19, 21; Portrait of the painting by indigenous artists,
Carpets, 86, 199, 199, 202, 205–11, Caliph of Constantine, 71 221–23, 235; and moderniza-
Chataud, Alfred, 259 tion, 12, 36, 102, 169, 215; and
206, 208–9, 311n49 Chennevières, Philippe de, 130 Orientalism, 3, 5, 61–62, 67,
Carré, Ketty, 149, 224, 269– 71, Chiaroscuro, 29 79, 81–82, 90, 95, 106, 170, 180,
Child labor, 196–98, 207 181; and political relations, 8,
278, 321nn77,80; artwork of: Chinoiserie, 58, 62 23, 24, 29–30, 62, 65, 79, 168,
Arab Woman in a Garden, 270; 176; and preservation of in-
Courtesan, 270, plate 16 digenous cultures, 192–95; and
Carré, Léon, 148–52, 149, 224, Renoir’s writings, 41; resistance
229, 238, 269, 278, 294n27; to, 8, 16, 23, 24, 29–30, 36, 79,

340 Index

81, 82, 92, 120, 176– 79, 191– Women, 83, 85; Low Mass in 292n50; and De Buzon’s art,
92, 222, 225, 227, 228, 247, Winter, 83, 84 151–53; and De Tarde ’s writ-
248, 268, 276, 294n33; and Courbet, Gustave, 1, 24, 52, 263, ings, 203; and economic rela-
Villa Abd-el-Tif artists, 7, 266, 279 tions, 191, 195, 202, 210; and
147 Cox, Samuel, 36, 42 ethnography, 273; exhibitions
Colonial Society of French Cross, Henri-Edmond, 264, 266 of, 110, 138, 151, 210–19; and
Artists, 6, 118, 125, 143, 176, Cross-cultural relations, 4, 9, Gallé’s art, 138, 142; and Her-
278, 299n69, 303n1 98–99, 101–2, 222, 225, 235, zig’s art, 199–200; Islamic, 75,
Color: and Belly’s art, 52; and 272, 281 151–52, 185–86, 189, 195, 237,
Bénédite ’s writings, 51–53; Crouse, Elisabeth, 193 269, 281, 291n25; and Kleiss-
and Léon Carré’s art, 150; and Crusades, 120 Herzig’s art, 271; and Majo-
Cauvy’s art, 147; and Dinet’s Cubism, 69, 82, 86, 154, 157, 168, relle ’s art, 142–43; and Roger
art, 52, 53, 281, 289n40; and 181, 204, 264, 278, 279 Marx’s writings, 287n1; and
Dufresne ’s art, 156; and ex- Culture: decline of, 97–98, 203, Matisse ’s art, 175, 180, 185, 189,
oticism, 49; and fauvism, 157; 238, 296n62; destruction of, 191, 279, 281; and modernism,
and Fromentin’s art, 12; and 12–13, 15, 36, 62, 65, 97–98, 180, 191, 213–18; of Morocco,
Fromentin’s writings, 29, 48; 102, 169, 191, 193, 201, 203, 8–9, 191, 202–13, 215–17; and
and Guillaumet’s art, 53; and 247; preservation of, 62, 64– Mohammed Racim’s art, 236;
impressionism, 29, 41, 49, 52, 65, 96–98, 144, 168, 169, 181, and Société Nationale des
140, 143, 289n40; and Islamic 192–95, 238, 240. See also Beaux-Arts, 142; and Vachon’s
art, 186; and Lebourg’s art, Cross-cultural relations writings, 195
41, 49, 51, 160; and Lévy- Deferre, Gaston, 123
Dhurmer’s art, 87; and Mam- Dagnan-Bouveret, Pascal, 60 Degas, Edgar, 31, 129, 130, 264,
meri’s art, 223; and Roger Daguerre, Louis, 297n27 278, 288n35
Marx’s writings, 54; and Dampt, Jean, 137 Dehodencq, Alfred, 37, 69– 71,
Matisse ’s art, 160, 164, 174, Dance, 116, 117, 120–21, 122, 161, 96–97, 266, 268, 269, 277,
179, 184–86, 189, 279; and 319n49; artwork of: Bastinado,
Monet’s art, 140, 287n5; and 165, 167, 305n26 70; Execution, 70; Execution
naturalism, 49; and Prouvé’s Daubigny, Charles-François, 52 of the Jewish Woman, 69– 70,
art, 140, 143, 160; and Prouvé’s Dauzats, Adrien, 13, 15–16, 70; Little Gypsy Girl, 71; Little
writings, 139–40; and realism, Orange Seller, 71; Punishment
29, 124; and Renoir’s art, 37, 286n57; artwork of: Place du of Thieves, 70
39, 49; and romanticism, 29; Gouvernement at Algiers, 13, 14 Delacroix, Eugène, 8, 17, 18,
and Silbert’s art, 124 David, Jacques-Louis, 61 19, 21, 34, 35, 37, 51, 60, 69,
Comité Dupleix, 67 David-Weill, M., 267, 320n61 71, 138, 149, 157, 161, 168,
Comité du Vieil Alger, 144, 194, Dayot, Armand, 6, 129, 130, 131, 169, 183, 241, 257, 266, 268,
197, 201, 238, 240–41, 259, 135, 138, 150 277, 280, 281, 286nn53,57,
302n47 Decamps, Alexandre, 178, 184, 306nn35,40, 319n49; artwork
Commune, Paris, 27, 130 266, 268, 286n57 of: Fanatics of Tangiers, 95;
Communist party, in France, 248, Decorative art: of Algeria, 151– Fantasia, 277; Giaour Pursuing
276 53, 186, 191, 195–200, 210, 217– the Abductors of His Mistress,
Constant, Benjamin, 8, 26, 27, 66, 19, 236, 269, 271, 273; and art 266, 268; Jewish Wedding, 34,
89, 183, 232 deco, 210, 215; and art nouveau, 71; Lion Devouring an Arab,
Cordier, Charles, 72, 292n42 138; and associationist colonial 161; Lion Hunt, 277; Women
Cormon, Fernand, 66, 110 policy, 192, 200, 215–17; and of Algiers, 8, 34, 241
Corot, Jean-Baptiste-Camille, 42, Bénédite ’s writings, 58; of Dellepiane, David, 147
52, 69, 130, 233, 263, 278 Berbers, 77, 196, 198, 202, Demaeght Museum, in Oran, 256,
Corpus de tapis marocains, 207–9 206; and Bernard’s art, 89; 271, 272
Corsairs, 245, 247 in Bosnia-Herzegovina, 195, Denis, Maurice, 130, 164, 265, 279
Cottet, Charles, 59, 66, 83–84, 291n25; and Ketty Carré’s art, Department stores, 213
109, 259; artwork of: Fellah 269– 70; and Léon Carré’s art, Derain, André, 161, 320n64
150, 151–52; and Cauvy’s art,
151; and Chudant’s art, 75,

Index 341

Dervaux, Adolphe, 86, 90 of Laghouat, 136–37, 137; “The Egypt: Alma-Tadema’s depiction
Despiau, Charles, 265, 319n55 Quesba” (Long Reed Flute), 100, of, 25; Belly’s depiction of, 61,
Deutsch, Ludwig, 178, 179 plate 6; View of the M’Sila after 83; Cottet’s depiction of, 83;
Devilly, Théodore, 138 Rain, 135; writings of: Khadra, Cottet’s travels in, 66; Fro-
Dinet, Etienne, 4, 5, 6, 48, 60, 61, danseuse Ouled-Naïl, 167; Pé- mentin’s depictions of, 28;
lerinage à la Maison Sacrée Gérôme ’s travels in, 69;
66, 74, 83, 101, 130, 132, 150, d’Allah, 95; Tableaux de la Regnault’s depiction of, 26
154, 155, 163, 164, 170, 174, 240, vie arabe, 94, 102; La Vie du
244, 278, 294n41; and academic prophète Mohammed, 94, 237 Egyptian art, 59
tradition, 100, 103, 289n40; and Dioramas, 7, 105, 106, 111, 112– Egyptology, 59, 66, 98
activity in Algeria, 59, 73, 92, 13, 113, 116, 297nn26–27,36 Eiffel Tower, 59, 106
98, 102, 135–37, 161, 251, 255, Dollfuss, Jean, 34 Eisenman, Stephen, 94, 294n36
269, 271– 72, 281, 295n61, Dormoy, 252, 254 Elderfield, John, 170
317n8; and Algerian museol- Doucet, Jacques, 213, 214 Eluard, Paul, 276
ogy, 259, 269, 271– 72, 321n90; Doumer, Paul, 67 Emulation, and Mammeri’s art,
artistic practice of, 92, 100–101, Doumergue, Gaston, 254, 268,
102, 136–37, 271, 281, 289n40; 280, 318n41 222, 224, 228, 243
Bénédite ’s writings on, 92, 94, Draner (Jules Renard), 42, 49 Enlightenment, 49
95–100, 102, 136, 319n49; on Dreyfus affair, 144 Eon, Henri, 84–86
centenary in Algeria, 251, 255, Drumont, Edouard, 144 Escapism, 25
271, 272, 317nn8,17, 322n93; Dubois, Paul-Elie, 151, 278 Escholier, Raymond, 257
and conversion to Islam, 94, 98, Dufresne, Charles, 153–57, 187, Esquer, Gabriel, 241, 268, 316n64
102, 272, 280, 322n91; critical 278, 279, 293n7; artwork of: Estienne, Henry d’, 113
reception of, 52, 54, 89, 92, 99– Algerian Oasis, 155, 156; North Ethiopia, 132–34. See also
100, 102–3; and ethnographic African Landscape, 155, 155;
art, 92, 94–95, 99, 142, 281; and Oriental Scene, 155–56, plate 10 Abyssinia
Orientalism, 52, 53, 54, 73, 92, Dufy, Raoul, 279 Ethnic identity, 45, 99, 116, 119
94–95, 98–103, 109, 132, 136– Dulac, Edmond, 294n27, 303n 70 Ethnic types, 55, 164, 174, 181
37, 269, 279–81, 289n40; and Dumoulin, Louis, 7, 9, 114, 116– Ethnography: and academic tra-
relations with Berbers, 92, 94, 18, 124, 127, 298n44
98, 100, 122; and relations with Dupleix, Joseph-François, 65 dition, 18, 34; and Bénédite ’s
Mohammed Racim, 237, 238, Durand-Ruel, Paul, 43, 45, 69, 71, writings, 62, 99, 109; and
281; and relations with Sliman 86, 103, 125, 268, 269 Cordier’s art, 72; and decora-
ben Ibrahim, 72– 73, 94, 95, 98, Duranty, Louis, 29–31, 82 tive art, 273; and Dehodencq’s
102, 167, 237, 271, 281, 292n45; Duret, Théodore, 52 art, 96; and Dinet’s art, 92,
Salon exhibitions by, 92, 99, Dutch art, 29, 40, 247 94–95, 99, 142, 281; and expo-
135, 136; and traveling scholar- Duval, Jeanne, 12 sitions, 105, 109, 116–17, 127;
ships, 135–37; artwork of: Duvent, Charles, 124 and Fromentin’s writings, 18–
Andalusia in the Time of the 19, 92, 102; and Gauguin’s art,
Moors, 122, plate 7; Crescent Eberhardt, Isabelle, 6, 101–2, 123, 93–94; and Gautier’s writings,
Moon, 94; Imam Leading the 144, 149, 160, 163, 168, 202, 18–19, 24, 92, 96; and Gérôme’s
Prayer, 94, 96; Old Arab 291n26, 298n36 art, 19; and Guillaumet’s art,
Women, 272; An Ouled-Naïl, 96; and Matisse ’s art, 170, 173,
166, 167; Portrait of Sliman Ecole des Beaux-Arts, in Algiers, 180; and Prouvé’s art, 142;
ben Ibrahim, 72; El Rattacine 143, 147, 195, 199, 223, 237, 245, and Renan’s writings, 22; and
(The Well Diggers), 136; Saint 270 Renoir’s art, 45, 55; research
John Hospitaller, 135; Sliman program of, 19
ben Ibrahim at the Place de Ecole des Beaux-Arts, in Paris, Etienne, Eugène, 62, 65, 200
la Concorde, 98, 99; Snake 26, 29, 100, 130, 157, 173, 189 Etoile Nord-africaine movement,
Charmer, 137; Son of a Holy 227, 248, 255
M’rabeth, 95, 97; Spring of Economic relations, 23, 30, 36, Eurocentrism, 170
Hearts, 100–101; The Terraces 62, 64, 65, 86, 109, 122–23; Evenpoel, Henri, 85, 161, 165, 169,
and decorative art, 191, 195, 181
202, 210 Évolué, definition of, 3, 223
Exhibition of Moroccan Arts, in

342 Index

Paris, 207, 208, 210–11, 226, Fantin-Latour, Henri, 264, 266 Falconer, 19, 20; Bab-el-Gharbi
228 Fauvism, 86, 154, 155, 157, 160, Street in Laghouat, 12, 15, 16–
Exhibitions, of Orientalist art, 17, 163, plate 1; Fountain at
59–62, 65, 67, 69– 72, 75, 81, 161, 164, 165, 168, 230, 264, Kouba, 269; Souvenir of Algeria,
103, 106, 129, 151, 160, 163, 279, 293n7 269; writings of: Une année
268–69, 292nn38,42, 294n27, Favory, André, 320n64 dans le Sahel, 17–19, 22, 27,
299n69; and expositions, 59– Fazekas, Sabine, 146 28, 41, 48, 284n13; Dominique,
60, 61, 71, 74, 105–6, 109– Fénéon, Félix, 52, 314n34 17; Un éte dans le Sahara, 16,
10, 118, 121–22, 124–27, 161, Ferry, Jules, 65, 131, 300 17, 21–22, 25, 41, 284n13; Les
210, 276–81. See also Salon Fez, 170, 201, 203, 204, 205, 210, maîtres d’autrefois, 17, 28–29
exhibitions 211, 217, 224, 225, 229, 231,
Exoticism: and academic tradition, 233, 235, 306n40, 307n56; Gabès, 139, 140, 142, 143
153, 159, 160; and Algerian Mammeri’s depiction of, 222, Galand, Charles, 297n36
museology, 268; and Baude- 226, 228, 229, 230, 231, 232, Galichon, Emile, 285n24
laire ’s writings, 89; and Béné- 232 Gallé, Emile, 138, 139
dite ’s writings, 61–62; and Fichet, L. A., 276 Gallieni, Joseph, 200
Bernard’s art, 89, 290n14; and Figure painting: and Belly’s Gallotti, Jean, 202, 311nn43,48
Bretonism, 83, 89; and Carré’s art, 71; and Bernard’s art, 89; Gallotti, Marie-Louise, 207,
art, 149; and Castagnary’s and Dehodencq’s art, 69; and
writings, 24, 27; and color, Dinet’s art, 102; and Guil- 311n47
49; and Duranty’s writings, laumet’s art, 71; and Mam- Gambetta, Léon-Michel, 286n48
31; and Flaubert’s writings, 89; meri’s art, 222, 235, 314n30; Gangnat, Maurice, 278
and French bazaars, 86; and and Matisse ’s art, 173–80; Gardens, 42, 59, 126, 148, 170,
Fromentin’s writings, 18, 21, and Prouvé’s art, 140–43; and
29, 95; and Gauguin’s art, 33, Renoir’s art, 37–38, 42–43, 186–89, 261, 318n37
279, 281; and Guillaumet’s art, 45–48, 55, 87, 173; and Silbert’s Gardier, Raoul du, 161
96; and impressionism, 34–35, art, 124 Gasté, Constant-Georges, 72,
55; and Lebourg’s art, 49; and Fin-de-siècle period, 33, 57, 86,
Lévy-Dhurmer’s art, 290n14; 97, 101, 105 292n42
and light, 49; and Loti’s writ- Flaubert, Gustave, 67, 89–90, 135, Gauguin, Paul, 33, 59–60, 83,
ings, 117; and Manet’s art, 125; 138
and Matisse ’s art, 3, 160; and Fontainas, André, 82–84 89, 92–94, 95, 97, 98, 125–
modernization, 36; neoclassical Foucault, Michel, 5 26, 154, 161, 164, 165, 168,
critique of, 18, 21; and other- Fourcaud, Louis, 43 264, 266, 278, 279–81, 287n1,
ness, 90; and Parisian exposi- Fragonard, Jean-Honoré, 124 294nn33,41; artwork of: Ia
tions, 59–60; and Point’s art, Franco-Prussian War, 26, 27, 29, Orana Maria, 92, 93; Mana’o
290n14; realism combined 130 tupapa’u, 94, 95; Martinique,
with, 49; realist critique of, French colonists: in Algeria, 15, 126; Tahitian Landscape, 126;
24, 31; and Renoir’s art, 34, 55; 36, 65, 102, 144, 192, 251, 263; Who Are We? Where Do We
and representation, 18, 21, 49; and anticolonialism, 79; and Come From? Where Are We
and tourism, 81; and traveling modernization, 15; in Morocco, Going?, 280
scholarships, 31 200, 211 Gautier, Théophile, 12–13, 13,
Exposition Franco-Marocaine, French Revolution, 252 15, 17, 18–19, 21, 23, 24, 27,
in Casablanca, 204 Frère, Théodore, 19 31, 36, 48, 61, 62, 92, 96, 184,
Expressionism, 124 Friant, Emile, 135, 143 284nn2,7; writings of: Alger
Fromentin, Eugène, 6, 7, 12, 15– extra-muros, 15; Voyage en
Fagus, Félicien, 83 19, 21–25, 27–31, 28, 37, 48– Algérie, 284n7
Falconry, 20, 21, 27 49, 52–53, 55, 60, 69, 84, 92, Geffroy, Gustave, 52
Fanon, Frantz, 2 95–96, 102, 135, 149, 157, 161, Géricault, Théodore, 277
Fantasias, equestrian, 21, 27, 119, 163, 268–69, 277, 319n49; Germany, 19, 23, 59, 64, 122, 131,
aesthetic theory of, 17–19, 176, 179, 195, 202
139, 140, 255 84, 95, 164; artwork of: Arab Gérôme, Jean-Léon, 19, 25, 62,
66, 72, 86, 159, 174, 178, 179,
180, 190, 228, 292n42; artwork
of: Almeh, 25, 26

Index 343

Gervex, Henri, 117 Haussmannization, 13 113, 116, 117, 124, 125, 161,
Gide, André, 136, 163, 165–66, Hautecoeur, Louis, 323n10 179, 200, 213, 215, 250, 276,
Hélys, Marc, 306n45 278
293n4, 305n26 Hemche, Abdel-Halim, 147 Ingres, Jean-Auguste-Dominique,
Giradet, Eugène, 292n42 Herzig, Edouard, 199–200, 217– 61, 71, 86, 130, 241, 279
Girardot, L.-A., 131, 135 Institut de Carthage, in Tunis, 75,
Giraud, Eugène, 13 19, 224, 229, 236, 240, 270 106, 143
Girodet, Anne-Louis, 61 Herzig, Yvonne, 270– 71, 321n83 Institut du Monde Arabe, in Paris,
Gobineau, Joseph Arthur de, 92 Hestaux, Louis, 139 222, 228
Gogh, Vincent van, 117 Hichens, Robert, 163, 188, 304n13 International Colonial Exposition
Gojon, Edmond, 217–18, 238, Historical painting, 25 at Vincennes, 7, 249–50, 276–
Hoisington, William A., 311n54 81, 277
244, 318n37 Holland, 29, 131 International Congress of Orien-
Goncourt, Edmond-Louis- Hugo, Victor, 90 talists, 25, 66
Hybridity, in Mohammed Racim’s International Exposition of Mod-
Antoine Huot de, 17 ern Decorative and Industrial
Goncourt, Jules-Alfred Huot de, art, 222, 237, 242, 243 Arts, in Paris, 151, 210, 212–19,
216, 218, 244, 276
17 Illuminations, 189, 219, 237–38, Islam, 22, 48, 62, 70, 74, 90, 94–
Gonse, Louis, 62, 81, 241 244 95, 102, 118, 122, 170– 71, 182,
Gourdon, Henri, 215, 312n73 225–28, 233, 237, 248, 250, 272,
Granada, 26, 118, 121, 244, 248 Immigration, 59 292n48
Grand Palais, in Paris, 71, 103, Impressionism: and academic Islamic art, 58, 74– 75, 151–52,
183, 210, 291n25; and decora-
109, 122 tradition, 34, 51, 279, 289n40; tive art, 75, 151–52, 185–86,
Granet, François, 124 and Algerian museology, 263– 189, 195, 237, 269, 281, 291n25;
Graphic arts, 73, 73– 75, 76, 77, 64, 269, 271; and Bénédite ’s and injunction against images,
writings, 49–54, 58; and color, 3, 5, 182, 229, 266, 314n30;
271, 294n27. See also Book 29, 41, 49, 52, 140, 143, 164, and Muslim Art Exhibition,
illustration; Lithography 289n40; and Courbet’s art, 29; 62, 64–65, 66, 74, 291n22
Grasset, Eugène, 63, 321n81 and Dumoulin’s art, 117; and Israel, ancient, 22
Great Britain, 19, 23, 64, 67, 122, exoticism, 34–35, 55; and Fro- Italy, 21, 26, 31, 62, 89, 91, 129–
131, 176, 195, 202, 291n25 mentin’s art, 17; and Fromen- 30, 131, 132, 137, 202, 215, 233,
El Greco, 233 tin’s writings, 29, 286n53; and 248, 252, 273
Greece, 27, 89 Lebourg’s art, 39, 41, 49–51,
Grimm, Thomas, 291n25 269, 319n49; and light, 17, 29, Janniot, Alfred, 276
Groves, Robert E., 308n75 36, 49, 52, 58, 164, 189; and Japan, 9, 116
Gsell, Stéphane, 195 Manet’s art, 29; and Roger Japonisme, 62, 64, 117
Guillaume, Paul, 279 Marx’s writings, 49–50; and Jardin des Plantes, in Paris, 148
Guillaumet, Gustave, 7, 27, 31, Monet’s art, 29, 35–36, 69, Jardin d’Essai, in Algiers, 42,
37, 50, 53, 58, 60, 61, 71, 83, 96, 140, 264; as movement, 57, 130;
125, 132, 136, 138, 163, 164, 268, and Orientalism, 7, 34, 35, 49– 55, 145, 154, 165, 187, 196, 261,
277; artwork of: Desert: The 54, 277, 279, 289n40, 319n49; 318n37
Sahara, 53; Seghia, Biskra, 53, and Prouvé’s writings, 140; Jaurès, Jean, 308n64
54, 83, 163; Weaving Women, and Renoir’s art, 7, 34, 36, 41, Jazz, 127
30, 31; writings of: Tableaux 49, 55, 277, 319n49 Jean, René, 156–57, 168, 305–6n35
algériens, 53, 138, 301n31 Ince, Howard, 176 Jews, 22, 58, 118, 121, 127, 165,
Guillaumin, Armand, 264 Indigenous art: Algerian, 1, 74, 171– 72, 250
Guion, Paul, 261 109–10, 144–45, 157, 191, 194, Jongkind, Johan, 264
Gypsies, 71, 74, 96–97, 119, 195–200, 217–19, 221–24, 236– Jonnart, Charles-Celestin, 144,
121 48, 271, 278; Moroccan, 8–9, 152, 157, 194–95, 198, 200, 202,
191, 200, 202–13, 215–17, 224– 219, 223, 236, 238, 255, 261
Halley, Charles, 277 35; Tunisian, 74, 77, 215, 217,
Hamidou, 248 230
Hamon, Philippe, 109 Indochina, 7, 8, 9, 59, 65, 67, 74,
Hand of Fatma, 74, 75, 292n48
Hasnaoui, Terzi ben, 230

344 Index

Jouve, Paul, 147, 151 Lebon, André, 73– 74 294n33, 298n44, 306nn40,45,
Jullian, Philippe, 259 Lebourg, Albert, 39–41, 49–51, 308n77
Louis XIV, 65
Kabyle, 16, 22–23, 29, 36, 96, 98, 160, 268, 269, 277, 288nn27,34, Louvre, 59, 71, 84, 98, 210, 257,
150, 152–53, 198, 199, 217, 223, 319n49; artwork of: Algiers 259, 267, 269, 290n4
233, 234, 235, 255 Admiralty, 49; Algiers Street, Luce, Maximilien, 264, 310n23
40; Port of Algiers, 41, 50 Lung, Frédéric, 144, 147, 155, 267,
Kahn, Gustave, 84, 230, 314n34 Lecomte de Nouÿ, Jean-Jules 320n65, 323n11
Keim, Albert, 323n10 Antoine, 178 Lunois, Alexandre, 73, 74, 80,
Klee, Paul, 8, 180–81 Leftist politics, 23, 30, 34, 82, 168, 109, 135; artwork of: exhibition
Klein, Henri, 238, 240 250 poster, 80
Kleiss-Herzig, Yvonne. See Herzig, Legrain, Paul, 213 Luxembourg Museum, 6, 27,
Lemire, Charles, 74 50–52, 59, 61, 69, 71, 98, 226,
Yvonne Lenin, V. I., 276 258, 264, 266, 278, 288n35,
Koechlin, Raymond, 209, 211, Lepine, Stanislas, 263 323nn10–11
Leprun, Sylviane, 116 Lyautey, Hubert, 8–9, 193, 193,
266, 269, 311n49, 320n61 Le Roux, Hughes, 287n5 195, 200–205, 211, 217, 222,
Koran, 4, 22, 225–28, 233, 237, Leroy, Paul, 48, 60, 61, 73, 74, 98, 225, 226, 229, 249, 263, 276,
109, 135, 163; artwork of: The 278, 280
238, 244, 266 Chourbah, 73; Hand of Fatma, Lytton, Baron, 90
75
Lafenestre, Georges, 59, 67 Le Sidaner, Henri, 137 Madagascar, 7, 8, 9, 59, 65, 110,
Lagarde, Léonce, 67, 132–33, 133 Lessore, Emile, 12, 14 112–13, 125, 200
Laghouat, 12, 15, 16–17, 67, 122, Lévy-Dhurmer, Lucien, 87, 161,
290n14, 293n7; artwork of: Mahmoud II, 26
135, 136, 163 Evening Promenade, Morocco, Maillol, Aristide, 265, 319n55
Lamartine, Alphonse-Marie-Louis 87, 88; Moroccan, 87; Portrait Maisonseul, Jean de, 268
of Pierre Loti, 87, 88 Majorelle, Jacques, 233
de Prat de, 90 Leygues, Georges, 67 Majorelle, Louis, 142–43
Landelle, Charles, 37, 60, 163, Light: and Belly’s art, 52, 71; and Mammeri, Azouaou, 4, 5, 6, 150,
Bénédite ’s writings, 52–53, 58,
292n42 62; and Cottet’s art, 83; and 157, 183, 222, 223–35, 234, 236,
Landscape painting: and academic Dinet’s art, 52; and exoticism, 238, 241, 243, 244, 249, 271,
49; and Fromentin’s art, 12, 17; 278, 312n60, 314n30, 321n87;
tradition, 51; and Belly’s art, 71; and Fromentin’s writings, 29, artwork of: Arab House, 271;
and Léon Carré’s art, 224; and 48; and Guillaumet’s art, 53, Cheikhates, 235; The Fountain,
Castagnary’s writings, 24–25, 71; and impressionism, 29, 36, 225, 225; Interior of a Koranic
27; and Chudant’s art, 74; and 49, 52, 58, 189; and Lebourg’s School, 226, 227, 228; Interior
Corot’s art, 263; and Courbet’s art, 49, 50; and Mammeri’s art, of the Karouiine Mosque, Fez,
art, 24; and Delacroix’s art, 16, 223; and Roger Marx’s writings, 228; Koranic Class, 228; “Montée
17; and Dinet’s art, 135, 136– 50, 54; and Matisse ’s art, 164, des rats” in Fez, 232, 232; View
37; and Fromentin’s art, 16, 17, 184, 189; and Monet’s art, 36, of Fez, 229, 230, 231; View of
27; and Guillaumet’s art, 71; 287n5; and naturalism, 49; and Moulay-Idriss, 233, plate 13
and Lebourg’s art, 288n27; realism, 29; and Renoir’s art, Manet, Edouard, 29, 54, 61, 117,
and Lepine ’s art, 263; and 37, 49; and romanticism, 29 125, 278, 286n53, 288n35
Mammeri’s art, 4, 229, 278; Liotard, Jean-Etienne, 43 Manguin, Henri, 164
and Matisse ’s art, 186; and Lithography, 73, 73– 75, 76, 77, Marby, Marcelle, 269
national identity, 24–25; and 142, 143, 148, 181 Marc, Franz, 157
Point’s art, 60, 87; and Prouvé’s Lorcin, Patricia, 19, 22, 250, 309n4 Marçais, Georges, 144, 192, 241–
art, 142, 143; and Renan’s art, Lorrain, Claude, 259 42, 247
85; and Renoir’s art, 34, 53, 264 Loti, Pierre, 71, 86, 87, 90, 97, Marcel, Alexandre, 114, 116
Laprade, Albert, 202 116, 117, 168– 70, 171, 181, 192, Mardrus, Joseph, 89, 154, 238
Laprade, Pierre, 320n64 Maréorama, 114, 116
Larche, Raoul, 137
Largillière, Nicolas de, 320n64
Launois, Jean, 151
Laurens, Paul-Albert, 321n81
Lazerges, Hippolyte, 259
Leblond, Marius-Ary, 303n1

Index 345

Marilhat, Prosper, 190, 268, 277, Mecca, 94–95, 102, 272 relations, 179–80; and Mo-
286n57 Médénine, 140–41 hammed Racim’s art, 222; and
Medersas (Islamic colleges), Renoir’s art, 33, 34, 41
Marquet, Albert, 85, 161, 269, 270, Modernization: in Algeria, 12–13,
293n7, 312n60 194–95, 207, 309n14 15, 36, 165, 284n7; in Egypt, 59;
Medina, 94 and Gautier’s writings, 12, 15,
Martin, Henri, 137 Meier-Graefe, Julius, 89 24, 36, 284n7; and indigenous
Marval, Jacqueline, 265 Meissonnier, Ernest, 84 art, 214–15; and Lessore ’s art,
Marx, Karl, 276 Meley, Louis, 144, 147 12, 14; and Loti’s writings, 169;
Marx, Roger, 33, 41, 48, 49–50, Melnikov, Konstantin, 213, 276 in Morocco, 169; and Wyld’s’s
Ménélik, 132–33, 134, 297n26 art, 12, 14
53–54, 61, 67, 81, 126, 287n1, Menzel, 139, 142–43 Moerenhout, Jacques-Antoine
288n27 Merad, Ali, 194 van, 94
Marye, Georges, 64, 96, 144, 192, Mercier, Gustave, 252, 255, 263, Monet, Claude, 29, 35–36, 37, 41,
195 42, 50–51, 54, 69, 83, 125, 140,
Matisse, Henri, 49, 59, 84, 124, 266 160, 264, 266, 287n5
125, 127, 129, 155, 156, 265, Merson, Luc-Olivier, 148 Montaland, Charles, 217
278– 79, 281, 293n7; Algerian Merwaert, Paul, 113, 124 Montesquieu, le baron de, 61
travels of, 159, 160–61, 163– Mesnil, Armand du, 17 Monticelli, Adolphe, 124
67, 169; and Islamic art, 3, 183, Meunier, Constantin, 54 Moorish architecture, 26, 37–38,
185–86, 189; Moroccan travels Michelangelo, 266 41, 42, 60, 106, 108, 118, 151,
of, 3, 8, 159, 169–89, 191, 202, Middle class, 5, 87, 273 163, 170, 181, 182, 192, 194–95
278, 281, 308n77; and Oriental- Migéon, Gaston, 135, 136, 210, Moorish art, 77, 199, 202, 203
ism, 6, 85, 159–60, 164, 168– Moorish poetry, 150
72, 173, 175, 179–81, 183–86, 291n22 Moors, 22, 23, 26, 58, 118–22
189–90; artwork of: Acanthus, Migonney, Jules, 155, 187, 278 Moreau, Gustave, 30, 85, 87, 130,
Moroccan Landscape, 189, plate Military, French, 22, 35–36, 67, 161, 164, 173, 293n7; artwork
12; Amido, 173– 74; Blue Nude of: Dance of Salome, 87
(Souvenir of Biskra), 127, 167; 112–13, 127, 132; in Algeria, 12, Morisot, Berthe, 264, 266
Bonheur de vivre, 189; Casbah 15–16, 27, 30, 36, 114, 120, 191, Morocco: anticolonialism in, 176–
Gate, 168, 180, 183–84, 308n77, 200; in Morocco, 176, 177, 179, 79, 211, 217, 225, 227, 248;
plate 11; Dance, 184; Fatma the 200, 217, 225, 307n56, 311n54; decorative art of, 8, 191, 202–
Mulatto Woman, 173, 174; Har- in Tunisia, 139 13, 215–17; Dehodencq’s de-
mony in Red, 184; Interior with Military painting, 15–16, 23, 82, piction of, 69– 71; Dehodencq’s
Eggplants, 186; Landscape 284n9 travels in, 69; Delacroix’s depic-
Viewed from a Window, 182, Millet, Jean-François, 52, 96 tion of, 16, 17, 61, 71, 169, 183;
183–84; Marabout, Tangier, Miniatures, 1, 62, 74, 82, 186, 189, French colonial policies in, 7,
170, 308n77; Matisse by Him- 219, 222, 235, 236–37, 238, 8–9, 65, 120, 169, 176, 177,
self, 170, 171; Moroccan Café, 241–47, 271, 273, 278, 303n70, 179, 192–93, 200–205, 217, 223,
168, 184–86, 185, 308n77; 321n87 309n4; French colonists in, 200,
Moroccan Garden, 186, 188, Modernism: and aestheticization, 211; and French exhibitions,
189; Music, 184; On the Terrace, 179–80; and Bernard’s art, 89; 207, 208, 210–13, 212, 215–16,
168, 172, 172, 180, 184, 186; and decorative art, 180, 191, 216; French military activity
Portrait of Madame Matisse: 213–18; and Evenepoel’s art, in, 176, 177, 179, 200, 217, 225,
The Green Stripe, 174; Seated 85; and Gauguin’s art, 125, 264, 307n56, 311n54; indigenous ar-
Moroccan Woman, 173, 179; 279–80; and Lebourg’s art, 41; chitecture in, 201–2; indige-
Seated Riffian, 175; The Stand- and Mammeri’s art, 222, 231; nous art of, 8–9, 191, 200,
ing Riffian, 175, 175; Street and Manet’s art, 125; and Mar- 202–13, 215–17, 224–35; Lévy-
in Biskra, 162, 163; View of quet’s art, 85, 269; and Matisse’s Dhurmer’s depiction of, 87;
Tangier, 179, 308n77; Zorah, art, 3, 85, 159, 160, 167, 168, Lévy-Dhurmer’s travels in,
168; Zorah Standing, 173, 174, 169, 172, 174, 179–80, 184, 190, 87; Loti’s description of, 71,
186 191, 213; and Orientalism, 2, 3,
Mauclair, Camille, 102, 156, 280, 7, 33, 34, 85, 89, 125, 159, 168,
281, 303n70 169, 172, 179–80, 190, 279–80;
and Piot’s art, 85; and political

346 Index

168– 70; Lyautey’s administra- National Colonial Exposition of ings, 259–60, 269, 319n49; and
tion in, 8–9, 193, 195, 200–205, Marseille (1922), 211–12, 212, Alexandre ’s writings, 79, 86;
211, 217, 222, 223, 229, 263; 230, 234 and Algerian museology, 260,
Matisse ’s depiction of, 3, 154, 263, 267– 72; and art nouveau,
170–90; Matisse ’s description National identity, 24–25, 29, 31, 138; and Baudelaire ’s writings,
of, 169– 70; Matisse ’s travels 48, 116. See also Ethnic identity 12, 31; and Bénédite ’s writings,
in, 3, 8, 159, 169–89, 202, 278, 31, 34, 49–55, 58, 61–62, 85,
281, 306n35; and moderniza- Nationalism, 31, 222, 235, 247, 248 103, 319n49; and Bretonism,
tion, 169; Poiret’s travels in, National Museum of African and 83; and Castagnary’s writings,
213; and Ricard’s writings, 198; 24–25, 27, 31, 82; and colonial-
Roman architecture in, 189, Oceanic Arts, in Paris, 250, 277 ism, 3, 5, 61–62, 67, 79, 81–82,
211; and tourism, 36, 169, 176, National Museum of Antiquities 90, 95, 106, 170, 180, 181; and
201; urban planning in, 201–2, costumery, 174, 213; and cu-
229. See also names of specific and Muslim Art, in Algiers, bism, 69, 82, 157, 293n7; and
cities and sites 143, 192 depersonalization, 49, 83; and
Morosov, Ivan, 279 National Museum of Fine Arts, Duranty’s writings, 29–31, 82;
Mosquée de la Pêcherie, in Algiers, in Algiers, 1–3, 6, 7–8, 42, 145, and escapism, 25; and Euro-
13, 195 147, 148, 242, 249, 256, 257– 73, centrism, 170; and fauvism,
Mosque of Sidi Abd-er-Rahman, 260, 262, 275, 302n64 279, 293n7; and Fontainas’s
in Algiers, 37–38, 38, 55, 259 National types, 18–19 writings, 82–83; and Fromen-
Mosque of Sidi Boul Baba, in Naturalism: and academic tradi- tin’s writings, 17–19, 21–23,
Menzel, 139 tion, 55; and Belly’s art, 52; 27–29, 31, 37; historical ac-
Moulay-Idriss, 87, 233, 315n42 and Bénédite ’s writings, 62; counts of, 3–4, 27, 41, 61, 69,
Mozabites, 21, 22, 72, 98, 136 and Buffet’s art, 61; and Cas- 319n49; and impressionism, 7,
Mucha, Alphonse, 75 tagnary’s writings, 25, 27; and 34, 35, 49–54, 277, 279, 289n40,
Municipal Museum of French colonial expansion, 62; and 319n49; and literary references,
Art, in Algiers, 59, 143, 258– color, 49; and Dinet’s art, 7, 58, 67, 89–90, 138; and Loti’s
60, 263, 271, 272, 319n56 61; and Guillaumet’s art, 7, 61; writings, 169; and Roger Marx’s
Musée des Beaux-Arts, at and Leroy’s art, 61; and light, writings, 49–50, 53–54; and
Besançon, 292n50 49; and national identity, 25; modernism, 2, 3, 7, 33, 34, 85,
Musée d’Orsay, 71 and Orientalism, 7, 34, 48, 52, 89, 125, 159, 168, 169, 172, 179–
Museum of Decorative Arts, 62; and Perret’s art, 61; and 80, 190, 279–80; and Nabis,
in Paris, 209, 210 Renoir’s art, 34, 48, 55; and 293n7; and Natanson’s writ-
Museum of the Casbah, in Algiers, socialism, 48 ings, 82; and national identity,
257, 257 Neoclassicism, 18, 130, 319n55 24–25, 27, 29, 48; and national-
Muslim Art Exhibition, 62, 64–65, Néo-Français, 45, 317n11 ism, 31; and naturalism, 7, 34,
66, 74, 191, 241, 291n22 Neo-impressionism, 52, 164, 264, 48, 52; and neo-impressionism,
Mustapha Museum, in Algiers, 293n7 293n7; and photography, 84–
192, 195, 256, 257, 271, 273, Nerval, Gérard de, 12 86, 95; and Pouillon’s writings,
310n23 Nézière, Joseph de la, 9, 124, 203, 245; and preservation of indige-
Mythological painting, 25, 87 204, 210, 211, 311n43, 312n60 nous culture, 62, 64–65, 96–98,
Nicholl, Charles, 132 168, 181; and realism, 7, 23–25,
Nabis, 287n1, 293n7 Noiré, Maxime, 114, 144, 259, 269, 29–31, 33, 49, 66, 82, 84, 89,
Napoléon III, 29, 62 297–98n36, 302n53 100, 146, 147, 160, 180, 237, 238;
Natanson, Thadée, 82 Nostalgia, 3, 61, 79, 97, 98, 168, and Renan’s writings, 85, 90;
National Colonial Exposition 238 and Said’s writings, 2, 4, 5, 25,
66, 170, 306n45; and symbol-
at Nogent-sur-Marne, 106, Oetterman, Stephen, 110, 113 ism, 82, 85, 87, 290n14, 293n7;
126–27 Oran, 252, 255, 256, 271, 272 as term, 24, 25; and traveling
National Colonial Exposition of Orientalism: and academic tradi- scholarships, 62, 129–40,
Marseille (1906), 69, 106, 118, 142–43, 157; and Vauxcelles’s
122–25, 147, 161, 165, 278 tion, 18, 21, 34, 51, 53, 55, 66,
69, 82, 84, 89, 100, 103, 160,
174, 180, 259, 278, 289n40; and
aestheticization, 37, 49, 69, 170,
179–80; and Alazard’s writ-

Index 347

Orientalism (continued) 40, 142–43, 259; Mohammed Petit Palais, in Paris, 109, 257,
writings, 86–87; and Villa Racim, 6, 244, 245; Regnault, 323n11
Abd-el-Tif, 147, 153, 157, 269, 27, 61, 268, 269, 319n49;
278. See also Exhibitions; Ex- Renoir, 3, 6, 7, 31, 33–34, Photography, 17, 38–40, 49, 84–
oticism; Society of French 36–43, 45–50, 54–55, 66, 69, 86, 95, 171, 221, 229, 259
Orientalist Painters 125, 159, 168, 268, 269, 277–
78, 281, 319n49; Rivière, 90; Piazza, Henri, 237, 241, 278
Orientalism, of individual artists: Rochegrosse, 25, 62, 66, 135, Picasso, Pablo, 59, 74, 122, 127,
Agutte, 293n7; Belly, 25, 27, 52, 269; Tissot, 25, 62, 66; Vernet,
54, 61, 71, 125, 277; Berchère, 82; Wyld, 19 213, 279
25, 268; Bernard, 87, 89; Bes- Orif, Mustapha, 236, 238, 241, 271 Piot, René, 85, 161, 279, 293n7
nard, 53, 62, 66, 130, 159, 160, Orléans, le duc d’, 13, 15–16, 266, Pissarro, Camille, 41, 224, 264,
269; Bompard, 135; Buffet, 267
67, 132, 134–35; Léon Carré, Ornamental art. See Decorative 266, 288n35
149–50, 278; Cauvy, 147, 278; art Place Clichy, in Paris, 86
Chassériau, 61, 96, 125, 161, Other, 4, 5, 15, 62, 90, 98, 168, 281 Point, Armand, 60, 87, 290n14
268–69, 277, 319n49; Chudant, Ottoman Empire, 8, 23, 41, 221, Pointillism, 137
74– 75; Constant, 25, 62, 66; 236, 238, 245, 248 Poiret, Paul, 213, 219
Cordier, 72; Cormon, 25, 62, Ouargla, 135, 136 Poisson, Pierre-Marie, 252, 253,
66; Cottet, 66, 109; Deho- Ouled-Naïls, 98, 100, 110, 121,
dencq, 69– 71, 96–97, 268, 269, 122, 161, 163, 165, 167, 305n26 317n14
277, 319n49; Delacroix, 34, 61, Polignac, le comte de, 267, 320n64
69, 95, 168, 241, 268, 277, 281, Palace of Industry, in Paris, 61, 62 Political relations: and aestheti-
319n49; De la Nézière, 203, Palace of the Deys, in Algiers, 13
204, 210; Dinet, 7, 52, 53, 54, Palais d’Eté, in Algiers, 151–53, cization, 49, 179–80, 190; and
73, 92, 94–95, 98–103, 109, 132, anticolonialism, 8, 23, 24, 79,
136–37, 269, 271– 72, 279–81, 219, 258, 303n73 81, 82, 168, 179; and centenary
289n40; Dubois, 151; Dufresne, Palestine, 21 of French Algeria, 250–52; and
156–57, 278, 293n7; Evenepoel, Pannini, Giovanni, 319n47 colonial expansion, 62, 65, 79;
85; Frère, 19; Friant, 135, 143; Panofsky, Erwin, 243 and colonial policies, 29–30,
Fromentin, 17, 27, 28, 37, 69, Panoramas, 7, 105, 106, 110–14, 194, 250–51
96, 161, 268–69, 277, 319n49; Polo, Marco, 90
Gasté, 72; Gauguin, 69, 125– 112, 115, 116, 118, 297n26 Polynesia, 65
26, 278, 279–81; Gérôme, 25, Paris: bazaars in, 86; Commune Pont-Aven, school of, 83, 89
62, 66, 69, 72, 159; Girardot, Postcards, 171, 173, 177, 181, 190
131, 135; Girodet, 61; Guil- in, 27, 130; and Haussmanniza- Posters, 63, 75, 76, 77, 80, 81, 147,
laumet, 7, 27, 31, 58, 61, 71, 96, tion, 13; siege of, 26, 27. See 148, 252, 254, 321n81
125, 132, 268, 277; Ingres, 61, also names of specific sites; Post-impressionism, 143
86, 130; Jouve, 147; Klee, 180; Universal expositions Potter, Maurice, 67, 68, 72,
Launois, 151; Lazerges, 259; Patriotism, 25, 31, 67 292n42
Lebourg, 49, 268, 269, 277, Patronage, 66–67, 69, 74, 126, Pouillon, François, 99, 153, 235,
319n49; Leroy, 54, 73, 109, 135; 147, 159, 168, 267 246, 248, 271, 292n45
Lévy-Dhurmer, 87, 293n7; Pavillon de Marsan exhibit. See Poussin, Nicolas, 84, 129, 319n47;
Lunois, 73, 109, 135; Mammeri, Exhibition of Moroccan Arts artwork of: Rebecca and Eliezer
6, 233; Marquet, 85, 269, 293n7; Peltre, Christine, 288n34, 295n44 at the Well, 84
Matisse, 3, 6, 85, 159–60, 164, Perret, Auguste, 261 Practice, artistic: of Belly, 52;
168– 72, 173, 175, 179–81, Perret, Marius, 54, 61, 72, 113, of Bernard, 89; of Bonnard,
183–86, 189–90, 278– 79, 292n42; artwork of: Souvenir 143; of Ketty Carré, 269– 70;
281; Moreau, 87; Noiré, 269, of the Fouta Expedition, 68 of Léon Carré, 150–51, 224;
298n36; Perret, 54, 72; Piot, 85, Persian miniatures, 4, 62, 82, 186, of Cauvy, 147; of Chassériau,
293n7; Point, 87; Poisson, 252; 222, 236–38, 241, 242 71; of Cottet, 83; of Delacroix,
Potter, 67, 72; Prouvé, 90, 138– Perspective, 242–43, 269– 70 21; of Dinet, 92, 100–101, 102,
Peter, Victor, 75 136–37, 238, 271, 281, 289n40;
Petit, Henri, 195 of Dufresne, 156, 157; of Du-
moulin, 117; of Fromentin,
12, 17, 21; of Gérôme, 25; of
Guillaumet, 53, 136; of Kleiss-

348 Index

Herzig, 271; of Lebourg, 41, Barbarossa and His Fleet before 92, 99–100, 102–3; Dufresne,
49–51; of Lévy-Dhurmer, 87; Algiers, 271; The Caliph and 155, 156–57; Fromentin, 12,
of Mammeri, 222, 224, 226, His Entourage, 271; Casbah 25, 27, 29–30, 286n53; Gallé,
231, 232, 233; of Matisse, 84, Terraces, 241–43, 242, 248; Day 139; Gauguin, 33, 126, 287n1;
160, 170, 174, 179–81, 184–86, after the Wedding, 241; Galleys Gérôme, 19, 25, 285n24; Guil-
189, 279; of Monet, 41, 287n5; Fleeing before the Storm, 245; laumet, 27, 53, 58, 83; Lebourg,
of Prouvé, 140, 141–42, 143; History of Islam, 247; The 41, 49–51, 288n27; Mammeri,
of Mohammed Racim, 222, Hunt, 242; Hunt Scene, 271; 223, 226–35; Manet, 54, 286n53;
241–43; of Renoir, 39–40, 41, Illumination in Egyptian Style, Matisse, 168, 305–6n35; Meu-
53; of Silbert, 124; of Suréda, 237; Illumination in Persian nier, 54; Millet, 52; Monet, 54,
84 Style, 237; Moorish Idyll, 244; 287n5; Moreau, 30; Perret, 54;
Preservation. See Culture, preser- Naval Battle, 245, 246, 247; Prouvé, 139, 140; Mohammed
vation of Persian Hunt, 238, 240; The Racim, 219, 223, 238, 241–42,
Prix Chenavard, 148 Rais, 247, plate 15; Splendor 244, 247, 248, 316n65; Omar
Prix de Rome, 25, 130, 145 of the Granada Caliphate, 244 Racim, 219, 244; Regnault,
Prix National (Prix du Salon), Racim, Omar, 219, 236, 237, 244 25, 27; Renoir, 41, 49, 54–55;
130, 132, 138 Realism: and academic tradition, Sisley, 54; Tissot, 174; Vernet,
Proletariat, 23 66, 82, 84, 89; and anticolonial- 27, 284n9
Prost, Henri, 201, 202, 217 ism, 23, 24; and Bernard’s art, Régamey, Frédéric, 64, 65
Prostitution, 165, 167, 171– 72, 180 89; and Léon Carré’s art, 148; Regnault, Henri, 8, 25–27, 50,
Proudhon, Pierre-Joseph, 24 and Castagnary’s writings, 24– 61, 268, 319n49; artwork of:
Proust, Antonin, 61 25, 31; and Cauvy’s art, 147; Execution of a Janissary, 26;
Prouvé, Victor, 8, 90, 138–43, and Champfleury’s writings, Haoua, 27; Hassan and Na-
160, 259; artwork of: Arab 24; and color, 29, 124; and mouna, 27, plate 2; Portrait of
Horseman, 140–42, plate 8; At Courbet’s art, 18, 24; and Cour- General Prim, 25, 27; Salomé,
the Menzel Fountain, 142, 143; bet’s writings, 24; and Dinet’s 25, 27; Summary Execution, 26,
Caravan (Study), 140; Fantasia, art, 92, 100, 238, 281; and 27, 71
140, 141; Flora Marina, Flora Duranty’s writings, 29–31; Religious practice, as subject of
Exotica, 139; Sardanapalus, and Fromentin’s writings, 29; art, 19, 93–95, 225–28, 269
138, 143, 259; writings of: De and Guillaumet’s art, 96; and Rembrandt, 174
Gabès à Douïreth, 139 Lebourg’s art, 49; and light, Renan, Ary, 8, 84–85, 89, 91, 174,
Puget, Pierre, 124 29; and Mammeri’s art, 231, 307n54
234; and Manet’s art, 29; and Renan, Ernst, 22
Rabat, 201, 204–5, 207–8, 210, Matisse ’s art, 279; and Monet’s Renard, Jules. See Draner
232, 233, 235, 311n48; Mam- art, 29; and national identity, Renoir, Jean, 37, 47
meri’s depiction of, 222 24–25; and Orientalism, 7, 23– Renoir, Pierre-Auguste, 3, 6, 7,
25, 29–31, 33, 49, 66, 82, 84, 31, 33–34, 36–43, 45–50, 54–
Rabinow, Paul, 201 89, 100, 146, 147, 160, 180, 237, 55, 66, 69, 81, 87, 125, 159, 160,
Race: and cultural decline, 97–98, 238; and Proudhon’s writings, 161, 163, 170, 173, 174, 180, 187,
24; and “Return to Order” 264, 268, 269, 277– 78, 279,
203, 296n62; and ethnography, movement, 231; and Silbert’s 281, 288n35, 319n49; artwork
19, 22, 55; and Fromentin’s art, 124; and Villa Abd-el-Tif, of: Algerian Figures, 45, 46,
writings, 22–23; and Gautier’s 146 268; Algerian Woman and Child,
writings, 18–19; and Gob- Reception, critical, of individual 45–46; Algiers Garden, 268; Ali,
ineau’s writings, 92; mingling artists: Belly, 25, 27, 52, 54; the Young Arab, 46, 173 Arab
of, 45, 165; and stereotypes, 22, Berchère, 25; Bernard, 89; Festival, Algiers: The Casbah,
45, 55; and Taine ’s writings, 92 Caravaggio, 18; Ketty Carré, 34, 35, 125, 161; Arab on a
Racim, Mohammed, 1, 4, 5, 6, 270, 321n80; Clairin, 27; Con- Camel, 46; Copy after Dela-
74, 79, 151, 157, 198, 199, 219, stant, 27; Corot, 52; Cottet, 84; croix’s “Jewish Wedding,” 34,
222, 223, 229, 230, 235–38, Courbet, 18, 52; De Buzon, 153; 35, 278; Field of Banana Trees,
241–45, 247–48, 249, 252, 269, Decamps, 184; Dinet, 52, 54, 89, 42, 49; Head of an Algerian
270, 271, 278, 281, 294n27,
321nn80,86–87; artwork of:

Index 349

Renoir, Pierre-Auguste (continued) Roujon, Henri, 73, 288n35 School of Fontainebleau, 319n47
Woman, 125; Jardin d’Essai Rousseau, Théodore, 52, 263 Schuré, Edouard, 90
in Algiers, 42, 49, 55, plate 4; Royalism, 23 Science, 19, 29, 49, 52, 55, 65, 67
Luncheon at Bougival, 49; Rugs. See Carpets Sculpture, 69, 72, 73, 110, 156, 252,
Madame Stora in Algerian Russia, 19, 59, 123, 213, 276, 279
Costume, 34, 125, 161, 278; 259, 265–66, 276, 281, 319n56
Mademoiselle Fleury in Algerian Sagnes, Guy, 286n51 Séailles, Gabriel, 70, 269, 320n72
Costume, 43, 44, 45; Mosque at Said, Edward, 2, 4, 5, 25, 66, 170, Segalen, Victor, 97, 168
Algiers, 37–39, 53, 55, plate 3; Séguy, E.-A., 187
Odalisque, 34; Old Arab Woman, 306n45 Seignemartin, Jean, 51, 288n34
47, 47; Parisians in Algerian Salon exhibitions: and Baude- Self, and colonial relations, 4,
Costume, 45; Seated Algerian
Woman, 55; Stairway in Algiers, laire ’s writings, 11–12, 284n9; 222–23
39, 39–40; Young Arab Boy, 55 and Bénédite ’s writings, 51, 58, Sembat, Marcel, 167, 173, 178–
99; and Castagnary’s writings,
Representation, 3, 18, 49, 170, 174, 24, 25, 27, 58; and Fromentin’s 79, 279, 307–8nn64,66,79
190, 222 writings, 28; and Gautier’s Seurat, Georges, 264
writings, 12; and Roger Marx’s Sexual tourism, 165–67
“Return to Order” movement, writings, 33, 54; and Société Shattuck, Roger, 72
231, 278– 79, 281 des Artistes Français, 132, 134, Shchukin, Sergei, 279
135, 142, 160, 230; and Société Sherman, Daniel, 258
Ricard, Gustave, 264, 266 Nationale des Beaux-Arts, Sidi Abd-er-Rahman Et Tsalibi,
Ricard, Prosper, 163, 198–99, 203, 142, 154, 159; and Society
of Algerian and Orientalist 38
207–9, 223, 224, 229, 233, 236, Artists, 238, 243, 270; and Signac, Paul, 264, 293n7
272, 311n43 Society of French Orientalist Silbert, José, 124, 259, 292n48
Riffians, 175– 79 Painters, 7, 57–58, 66, 69, 74, Silvestre, Armand, 118
Rimbaud, Arthur, 132 75, 77, 81, 92, 103, 106, 121, 134, Simon, Lucien, 66, 135
Rivière, Théodore, 72, 90; art- 135, 142, 146, 147, 156, 160, 184, Sisley, Alfred, 54, 83, 264, 288n35
work of, 90, 91 292n38; and traveling scholar- Sisowath, king of Cambodia, 161
Rix, Hilda, 173, 176, 181, 306– ships, 130, 131, 132, 135, 138; Sliman ben Ibrahim, 72, 72– 73,
7nn47,49 and Zola’s writings, 29, 286n53
Roached, Mohammed ben Macri, Salon exhibitions, by individual 94, 95, 98, 102, 167, 237, 271,
230 artist: Belly, 71; Buffet, 132, 281, 292n45
Robert-Fleury, Tony, 289n40 134; Cauvy, 147; Chassériau, Social class, 5, 45, 46, 47–48, 87, 273
Rochefoucauld, Antoine de la, 55 71; Courbet, 24; Dinet, 92, 99, Socialism, 23, 48, 82, 178, 179,
Rochegrosse, Georges, 66, 124, 135, 136; Dufresne, 154, 156; 308n64
135, 240, 244, 259, 269 Fromentin, 12, 17, 28, 286n53; Société des Artistes Français, 131,
Rococo period, 61 Gauguin, 126; Gérôme, 69; 132, 134, 135, 142, 160, 230,
Rodenbach, Georges, 87 Henri Martin, 137; Matisse, 156, 292n38
Rodin, Auguste, 161, 265, 266, 278 159–60, 167; Potter, 67; Prouvé, Société Nationale des Beaux-Arts,
Rollince, Jeanne, 135, 137, 217, 271, 142; Mohammed Racim, 243; 142, 154, 159
280, 322–23nn9–10 Regnault, 25, 27 Society of Algerian and Oriental-
Roman empire, 4, 9, 189, 192, 238, Salonnets, 106, 121–22, 124, 126 ist Artists, 144, 145, 238, 243,
251 “Salvage” paradigm, 168 258, 263, 270– 71, 298n36
Romanticism: and Chassériau’s Salzmann, Auguste, 17 Society of French Orientalist
art, 71; and Delacroix’s art, 17, Sand, George, 17 Painters, 6– 7, 37, 51, 55, 57–
149; and Fromentin’s art, 25, Satire, 79 62, 65–67, 69– 75, 77, 131, 134,
149; and Fromentin’s writings, Schapiro, Meyer, 17 163, 168, 176, 204, 243–44, 259,
29; and Gautier’s writings, 12, Schneider, Pierre, 168, 189 267; critical reception of, 81–
15; and light, 29; and otherness, School of Algiers, 7, 143, 145–49, 87, 90–91; and expositions, 7,
62 151–55, 157, 187, 194, 195, 223, 59–60, 61, 71, 74, 105–6, 109,
Rome, 21, 26, 31, 129–30 260, 267, 269, 278 113–14, 118, 121–22, 124–27,
Rothschild, le baron de, 62 210, 278; salonnets of, 106, 121–
Rouault, Georges, 154 22, 124; Salons of, 7, 57–58, 66,
69, 74, 75, 77, 81, 92, 103, 106,

350 Index

121, 134, 135, 142, 146, 147, 156, Tanner, Henry Ossawa, 176 and Prouvé’s travels, 138–43;
160, 184, 292n38; and traveling Tarade, Jean de, 49 of Society of French Oriental-
scholarships, 7, 62, 134–35, 143, Tarde, Guillaume de, 201, 202, ist Painters, 7, 143, 146, 299n69;
146, 299n69; and Villa Abd-el- state-funded, 31, 124, 129, 130–
Tif, 146 203 32, 135, 143, 157, 159; and Villa
Society of Painter-Lithographers, Tardieu, André, 251 Abd-el-Tif, 145–46, 148, 151,
57, 74 Technique. See Practice, artistic 153, 154, 157, 269, 278
Soulès, Félix, 132 Tharaud, Jean and Jérôme, 223, Trocadéro Gardens, 60, 106– 7,
Soustiel, Jean, 291n22 107, 109, 112, 118
Spain, 25, 26, 27, 91, 96, 123, 131, 224, 226, 229, 313–14n15 Tunisia: Bénédite ’s travels in, 59;
132, 149, 157, 176, 177, 233; An- Theory of art: and abstraction, French art exhibited in, 59, 81,
dalusian, 26, 118–22, 127, 130, 106; French colonial policies in,
150, 165, 223, 245, 247, 248, 273 203–4; and academic tradition, 7, 8, 192, 200; French military
Spencer, Michael Clifford, 284n2 18, 84; and Castagnary’s writ- activity in, 139; indigenous art
Steam technology, 15, 36 ings, 24–25, 31; and De Tarde ’s of, 74, 77, 215, 217, 221, 230;
Stein, Gertrude, 181 writings, 203–4; and ethnogra- Institut de Carthage in, 75, 106,
Stereoramas, 107, 114, 115 phy, 18–19, 95; and Fromen- 143; Prouvé’s depiction of,
Stevens, MaryAnne, 43 tin’s writings, 17–19, 84, 95, 139–43; Prouvé’s description
Subjectivity: as aesthetic criterion, 164; and national identity, 24– of, 138–41; Prouvé’s travels in,
83, 85; and colonial relations, 5 25; and realism, 23–25, 31, 84, 138–41; represented in Parisian
Supernatural, Dinet’s depiction 174; and representation, 3, 18, exhibition, 64; and Ricard’s
of, 294n41 49, 170, 174, 190, 222; and sub- writings, 198; Roman ruins in,
Suréda, André, 84, 181, 219, 269, jectivity, 83, 85; and symbolism, 189; and tourism, 36; traveling
278, 322n9; artwork of: Foun- 179; and Zola’s writings, 83 scholarships to, 130, 132
tain at Tlemcen, 84, plate 5 Thil, Jeanne, 278 Turkish culture, 238, 240, 241,
Surrealism, 264, 276 Thomas, Nicholas, 5 294n33
Symbolism: and Bernard’s art, 87, Thornton, Lynne, 291n22 Turks, 23, 45, 184
89, 290n14; and Gauguin’s art, Thousand and One Nights, 58, 89,
92, 94; and Lévy-Dhurmer’s 154, 237–38, 239, 269, 294n27, Union Comtoise des Arts Déco-
art, 87, 290n14, 293n7; and 303n70 ratifs, 292n50
Roger Marx’s writings, 33; and Tinare, Louis, 112
Moreau’s art, 30, 85, 293n7; and Tintoretto, 89 Union of Women Painters and
Orientalism, 82, 85, 87, 290n14, Tissot, James, 66, 174 Sculptors, 57, 65
293n7; and Point’s art, 60, 87, Titian, 247
290n14; and Renan’s art, 85 Touareg, 119, 120, 126, 151, 278 United States, modern art collec-
Tour du Monde, at Paris exposi- tions in, 59
Tableaux vivants, 105 tion, 7, 114, 115, 116–18, 117,
Taine, Hippolyte, 92 119, 127 Universal Exposition of 1889, 7,
Tangier: Camoin’s stay in, 161; Tourism, 15, 36, 55, 81, 109, 114, 31, 59–60, 61, 106, 107
127, 147, 148, 163, 165, 169, 173,
Casbah in, 169, 173, 180–84, 176, 201, 258, 273, 281 Universal Exposition of 1900, 7,
308n77; Dehodencq’s stay in, Tournemine, Charles-Emile de, 27 31, 71, 74, 106–22, 126, 138,
70; Girardot’s depiction of, Toussaint, Henri, 150 139, 165, 212
131; Loti’s description of, 169, Tranchant de Lunel, Maurice, 201,
181; Matisse ’s depiction of, 203, 215, 311n43, 312n60 Urbanism, 9, 12, 24, 229
180–89; Matisse ’s stay in, 159, Traveling scholarships: and aca- Urban planning, 201–2
169–89, 191, 201, 281; Reg- demic tradition, 130, 137; and Utrillo, Maurice, 265
nault’s stay in, 26, 27; Rix’s art nouveau, 137; and Buffet’s
description of, 173, 176, 181, travels, 132–35; of Colonial Vachon, Marius, 195, 198
307n49; Silbert’s depiction of, Society of French Artists, 143, Vaillant, Edouard, 179
124; and tourism, 36; Villa 299n69, 303n1; and Dinet’s Valadon, Suzanne, 265
Brooks in, 187–88 travels, 135–37; and exclusion- Vallotton, Félix, 66
ary policies, 157; and Oriental- Van Loo, Carle, 319n47
ism, 62, 129–40, 142–43, 157; Vauxcelles, Louis, 86, 154, 306n35
Veil, in Islamic culture, 171– 72,

180, 198, 241, 306n45

Index 351

Verne, Jules, 114 Wagner, Richard, 139 154; and Fromentin’s art, 96;
Vernet, Horace, 15–16, 27, 35, 82, Wagram, Alexandre de, 125 and Fromentin’s writings, 19;
Waroquier, Henry de, 265 and Gérôme ’s art, 25, 26; and
284n9, 286n57, 295n44, 319n47 Watercolors: and Delacroix’s art, Guillaumet’s art, 96; and Lévy-
Veronese, Paolo, 89 Dhurmer’s art, 87; and Lunois’s
Versailles, 257, 267 8, 61, 161; and Dufresne ’s art, art, 74; and Manet’s art, 125;
Villa Abd-el-Tif, in Algiers, 7, 154; and Regnault’s art, 26, 27; and Matisse ’s art, 170– 74, 180;
and Tissot’s art, 174 and Prouvé’s writings, 140; and
143, 145–49, 151–55, 157, 187, Werth, Léon, 127 Mohammed Racim’s art, 241;
194, 195, 223, 260, 267, 269, Women: indigenous art produced and Renoir’s art, 34, 43, 45–47,
278, 302n64 by, 197–98, 207, 217; and 125, 173; and Suréda’s art, 84
Villa Medici, in Rome, 26, 130, 145 Islamic culture, 171– 72, 184, World War I, 127, 151, 233, 237
Villard, Antoine, 230 306n45 Wright, Gwendolyn, 9, 201, 202,
Violette, Maurice, 219, 244, 250– Women, as subjects of art: and 310n34
51, 261, 272, 281, 317n8 Bernard’s art, 89; and Chas- Wyld, William, 12, 14
Vitruvius, 202 sériau’s art, 96; and Cottet’s
Vlaminck, Maurice de, 265 art, 83; and Delacroix’s art, Ziem, Félix, 34
Vollard, Ambroise, 43, 66, 89 34, 241; and Dinet’s art, 74, Zola, Emile, 29, 31, 83, 286n53
Vuillard, Edouard, 1, 66, 125, 100, 122; and Dufresne ’s art,
293n7

352 Index

Compositor: Integrated Composition Systems
Text: Fournier

Display: Cochin, Cochin Italic
Printer and binder: Friesens Corporation

Indexer: Andrew Joron
Cartographer: Bill Nelson