Theo van Rysselberghe – Town in Marocco, 1888 Sotheby’s

The canvas presents a view of what appears to be a North African townscape, likely rendered from observation during travel. Here we see a cluster of buildings dominated by a prominent minaret rising above the rooftops. The architecture suggests a traditional Islamic urban environment, characterized by flat roofs and whitewashed walls.
The artist’s approach is markedly non-naturalistic. Buildings are not depicted with precise detail or perspective; instead, they are constructed from discrete patches of color applied in short, broken brushstrokes. This technique creates an impression of shimmering light and atmospheric haze, dissolving the solidity of the structures. The palette is predominantly cool – various shades of blue, grey, and white – with touches of ochre and brown introducing warmth and grounding the composition.
Several figures are present within the scene. One individual stands in the foreground, facing towards the town, while two others appear smaller and more distant, seemingly engaged in some activity near a low wall on the right side of the frame. These human elements contribute to a sense of scale and suggest an everyday life unfolding within this environment. However, they are rendered with minimal detail, appearing almost as silhouettes against the backdrop of the town.
The painting’s subtexts revolve around themes of observation, cultural encounter, and the representation of “the other.” The artists choice to depict a foreign locale – likely intended to convey exoticism – is filtered through a distinctly modern lens. The fragmented brushwork and flattened perspective eschew traditional modes of realistic depiction, instead prioritizing an impressionistic rendering of light and atmosphere. This approach could be interpreted as reflecting the artist’s subjective experience of the place, rather than aiming for objective documentation.
The absence of overt narrative or emotional expression further contributes to a sense of detached observation. The figures are not individualized; they serve primarily as markers within the landscape, reinforcing the impression that the scene is being viewed from an outsiders perspective. This distance may also suggest a broader commentary on the relationship between Europe and its colonial territories during this period – a gaze both fascinated and somewhat removed.