Eugene Fromentin – Women of the Ouled Nayls
1867. 110×72 cm
Location: Art Institute, Chicago.
На эту операцию может потребоваться несколько секунд.
Информация появится в новом окне,
если открытие новых окон не запрещено в настройках вашего браузера.
Для работы с коллекциями – пожалуйста, войдите в аккаунт (open in new window).
Поделиться ссылкой в соцсетях:
You cannot comment Why?
Several women are depicted in varying states of repose or distress. One figure lies prostrate on the ground near the foreground, her face buried in her arms, suggesting exhaustion or despair. Another woman sits languidly, draped in white fabric, seemingly detached from the surrounding atmosphere. A third is positioned higher up, atop a low wall, appearing to observe the scene with an air of detachment or perhaps resignation. Further back, another figure is partially visible, adding depth and complexity to the group dynamic.
The arrangement of the figures suggests a hierarchy or social structure within this community. The woman on the elevated platform seems to hold a position of authority or observation, while those below appear more vulnerable or burdened. Their clothing – simple robes and head coverings – indicates a culture distinct from Western European norms.
Subtleties in expression are difficult to discern due to the dim lighting and distance, but there is an overall feeling of melancholy and quiet suffering. The architecture itself contributes to this mood; the high walls create a sense of confinement and isolation, reinforcing the impression that these women exist within a closed-off world.
The artist’s choice to focus on the backs or obscured faces of some figures adds to the enigmatic quality of the work. It prevents direct emotional engagement while simultaneously prompting questions about their individual stories and collective fate. The painting evokes themes of displacement, hardship, and the complexities of cultural identity within a specific geographical context.