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Ernst's fascination with Islamic culture was sparked by his journeys to Spain and north Africa in the early 1880s and to Turkey and Egypt in the 1890s, and his paintings reflect the breadth of his knowledge.

 

Like many of Ernst's best works, A Romantic Interlude represents an idealised imagined Orient, although its component elements - from the Ottoman gilt metal-thread embroidered portière and Ladik carpet, to the iznic tiles and tile frieze - are minutely observed, based on sketches made in the field, or on props brought back from his travels. Of particular interest in the present work is the ornate stove mounted with a circular cup warmer. Ernst decorated his Paris studio in an eclectic 'Eastern' style, in which he would paint wearing a taboosh, the better to feel his way into the world of his paintings.

Art By Rudolf Ernst

Romantic Interlude

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Romantic Interlude Canvas Print
Rolled • 12x12 inches

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Romantic Interlude Canvas Framed Print
Framed • 12x12 inches

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Romantic Interlude Canvas Print
Wrapped • 12x12 inches

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Compact Size

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Romantic Interlude Canvas Print
Rolled • 18x18 inches

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Medium Size

Medium Size

Romantic Interlude Canvas Print
Rolled • 24x24 inches

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Compact Size

Compact Size

Romantic Interlude Canvas Print
Wrapped • 18x18 inches

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Compact Size

Compact Size

Romantic Interlude Canvas Framed Print
Framed • 18x18 inches

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Medium Size

Medium Size

Romantic Interlude Canvas Print
Wrapped • 24x24 inches

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Medium Size

Medium Size

Romantic Interlude Canvas Framed Print
Framed • 24x24 inches

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Romantic Interlude Framed Print
Framed with Mat • 12x12 inches

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Romantic Interlude Framed Print
Framed with Mat • 18x18 inches

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Medium Size

Medium Size

Romantic Interlude Framed Print
Framed with Mat • 24x24 inches

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Ernst's fascination with Islamic culture was sparked by his journeys to Spain and north Africa in the early 1880s and to Turkey and Egypt in the 1890s, and his paintings reflect the breadth of his knowledge.   Like many of Ernst's best works, A Romantic Interlude represents an idealised imagined Orient, although its component elements - from the Ottoman gilt metal-thread embroidered portière and Ladik carpet, to the iznic tiles and tile frieze - are minutely observed, based on sketches made in the field, or on props brought back from his travels. Of particular interest in the present work is the ornate stove mounted with a circular cup warmer. Ernst decorated his Paris studio in an eclectic 'Eastern' style, in which he would paint wearing a taboosh, the better to feel his way into the world of his paintings.

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