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oriental native types from the dahesh collection about mission director s letter history staff visit exhibitions collaborations dahesh traveling exhibitions collection overview search the collection recent acquisitions spotlight on bouguereau s amiable pictures cross the atlantic back to work the allure of animals in academic art classical mythology in 19th century french art celebrities portrait medals in 19th century france oriental native types from the dahesh collection recording islamic architecture and design french natural selections painting piety from the dahesh collection about face learning to draw emotion through expressive heads from st petersburg to paris the education of russian artists in france picturing the news the birth of the illustrated press egyptomania 19th century depictions of ancient egypt the franco prussian war and its aftermath in french art painting pompeii from neoclassicism to the néo grecs the spanish orient and henri regnault french 1843 1871 women artists who dared ii jeanne thil french 1887 1968 and marie hadad lebanese 1889 1973 women artists who dared i rosa bonheur french 1822 1899 and elizabeth gardner bouguereau american 1837 1922 peder mork mønsted s danish 1859 1941 poetic views of nature publications programs virtual salon graduate student symposium malec s art adventures shop publications shawls scarves neckties news newsletter oriental native types from the dahesh collection a rt runs forward in all directions on wings of steam new lands unexplored climates unfamiliar human types original races offer themselves to art from every angle wrote théophile gautier in 1857 in the journal l artiste western interest in classifying human types according to their facial physiognomies and distinctive costumes goes back to the 16th century but by the second half of the 19th century the portrayal of ethnic groups was a prolific theme in orientalist art improved and newly invented forms of transportation made the orient present day turkey the middle east and north africa more accessible prompting a flood of artists to head for that region and produce realistic representations of its diverse populations the new discipline of ethnography as well as the display of different foreign peoples in universal exhibitions in the various european cities was crucial in fueling the popularity of such images charles cordier 1827 1905 was among the most famous 19th century french ethnographic sculptors a pupil of françois rude 1784 1855 cordier devoted his career to portraying diverse human races from 1851 to 1866 he created a series of busts for the paris museum of natural history s new ethnographic gallery as its official ethnographic sculptor he received a number of government grants for missions in algeria 1856 greece 1858 and egypt 1866 to study and reproduce in sculpture the different indigenous types of the human race but aside from documenting racial differences cordier s main goal was to present the race as it is in its own beauty absolutely true to life with its passion its fatalism in its quiet pride and conceit a sudanese in algerian costume is one of cordier s most successful works exemplifying this approach the dahesh sculpture is a reduced version of the silvered bronze and onyx sculpture that was exhibited at the paris salon of 1857 and purchased by emperor napoleon iii musée d orsay paris interest in ethnography continued into the late 19th century like cordier numerous artists rendered careful studies of physiognomy and costume while capturing the essence and expression of the individuals an example is peder mønsted s 1859 1941 sensitive portrait of a cloaked nubian the nubians live in southern egypt and present day northern sudan conveying a sense of strength and dignity best known for his nordic landscapes mønsted trained at the royal academy of fine arts in copenhagen denmark from 1875 to 1879 and later traveled extensively throughout europe north africa and the middle east in 1876 josé tapiró y baró 1836 1913 the first painter from spain to settle in tangier in northern morocco across the strait of gibraltar produced numerous watercolors of indigenous north africans an iconic example is a tangerian beauty painted around 1891 in which the artist captures the sitter s likeness and expression and emphasizes the vibrant colors and textures of her costume and accessories echoing the work of his childhood friend and celebrated spanish artist mariano fortuny y marsal 1838 1874 a further typical work is head of a north african woman by another colleague of fortuny nazzareno cipriani 1843 1925 while the italian artist specialized in venetian scenes he likely turned to this theme because of the high demand for these images in contemporary rome the careful study of physiognomy close attention to costume and focus on personal characteristics align this watercolor with the ethnographic work of cordier mønsted and tapiró the woman s somber contemplative expression as well as her striking clothes and jewelry are all superbly captured by cipriani lending the image an extraordinary immediacy site links visit exhibitions collection about us programs shop news 2026 dahesh museum of art