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In this painting we are confronted with one of the archetypal themes of Orientalist painting, that of the 'harem' or 'woman's quarters', a term derived from the Arabic aram (forbidden). As it is the case in all of Ernst paintings, as in those of his compatriot Ludwig Deutsch, the ensemble is composed of multiple borrowings, from the Ottoman style screens in the background, which serve to signify the closed quarters of the women, separating them from the public sphere, to the blend of Iznick-style inspired tiles and Byzantine and Hispano-Moresque combination in the stone work of the water basin. The harem motif is used by Ernst as a canvas on which he projects contemporary western fantasies about these mysterious oriental spaces. His realistic style, complete with the various props, carpets, ewers, tiles, screens that the artist brought back from his trips to North Africa and Turkey, lend the scene its prodigious sense of veracity. The viewer is, in fact, confronted to a theater prop which the absolute technical mastery of the artist transforms into an evocative image of an 'Orient', most importantly of a notoriously forbidden space that extremely few people would have had access to, and which fascinated Western viewers at the time and contributed to Ernst's international success as one of the most gifted Orientalist painters of his generation.

Art By Rudolf Ernst

Manicure - Rudolph Ernst - Orientalist Art Painting

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Manicure - Rudolph Ernst - Orientalist Art Painting Poster
Rolled • - 17x12 inches

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Manicure - Rudolph Ernst - Orientalist Art Painting Poster
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Manicure - Rudolph Ernst - Orientalist Art Painting Art Print
Rolled • 12x9 inches

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Manicure - Rudolph Ernst - Orientalist Art Painting Art Print
Rolled • 18x14 inches

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Manicure - Rudolph Ernst - Orientalist Art Painting Art Print
Rolled • 24x18 inches

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Manicure - Rudolph Ernst - Orientalist Art Painting Art Print
Rolled • 30x23 inches

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Manicure - Rudolph Ernst - Orientalist Art Painting Canvas Print
Rolled • 12x9 inches

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Manicure - Rudolph Ernst - Orientalist Art Painting Canvas Print
Rolled • 18x14 inches

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Manicure - Rudolph Ernst - Orientalist Art Painting Canvas Print
Rolled • 24x18 inches

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Manicure - Rudolph Ernst - Orientalist Art Painting Canvas Print
Rolled • 30x23 inches

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Manicure - Rudolph Ernst - Orientalist Art Painting Canvas Print
Wrapped • 12x9 inches

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Manicure - Rudolph Ernst - Orientalist Art Painting Canvas Print
Wrapped • 18x14 inches

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Manicure - Rudolph Ernst - Orientalist Art Painting Canvas Print
Wrapped • 24x18 inches

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Manicure - Rudolph Ernst - Orientalist Art Painting Canvas Print
Wrapped • 30x23 inches

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Manicure - Rudolph Ernst - Orientalist Art Painting Canvas Framed Print
Framed • 12x9 inches

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Manicure - Rudolph Ernst - Orientalist Art Painting Canvas Framed Print
Framed • 18x14 inches

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Medium Size

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Manicure - Rudolph Ernst - Orientalist Art Painting Canvas Framed Print
Framed • 24x18 inches

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Manicure - Rudolph Ernst - Orientalist Art Painting Canvas Framed Print
Framed • 30x23 inches

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Manicure - Rudolph Ernst - Orientalist Art Painting Framed Print
Framed With Mat • 12x9 inches

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Manicure - Rudolph Ernst - Orientalist Art Painting Framed Print
Framed With Mat • 18x14 inches

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Manicure - Rudolph Ernst - Orientalist Art Painting Framed Print
Framed With Mat • 24x18 inches

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Manicure - Rudolph Ernst - Orientalist Art Painting Framed Print
Framed With Mat • 30x23 inches

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Manicure - Rudolph Ernst - Orientalist Art Painting Poster
Rolled • 30x24 inches

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Manicure - Rudolph Ernst - Orientalist Art Painting Poster
Framed • 30x24 inches

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Manicure - Rudolph Ernst - Orientalist Art Painting Large Canvas Print
Rolled • 36x28 inches

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Manicure - Rudolph Ernst - Orientalist Art Painting Large Canvas Print
Wrapped • 36x28 inches

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Manicure - Rudolph Ernst - Orientalist Art Painting Large Framed Print
Framed With Mat • 36x28 inches

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In this painting we are confronted with one of the archetypal themes of Orientalist painting, that of the 'harem' or 'woman's quarters', a term derived from the Arabic aram (forbidden). As it is the case in all of Ernst paintings, as in those of his compatriot Ludwig Deutsch, the ensemble is composed of multiple borrowings, from the Ottoman style screens in the background, which serve to signify the closed quarters of the women, separating them from the public sphere, to the blend of Iznick-style inspired tiles and Byzantine and Hispano-Moresque combination in the stone work of the water basin. The harem motif is used by Ernst as a canvas on which he projects contemporary western fantasies about these mysterious oriental spaces. His realistic style, complete with the various props, carpets, ewers, tiles, screens that the artist brought back from his trips to North Africa and Turkey, lend the scene its prodigious sense of veracity. The viewer is, in fact, confronted to a theater prop which the absolute technical mastery of the artist transforms into an evocative image of an 'Orient', most importantly of a notoriously forbidden space that extremely few people would have had access to, and which fascinated Western viewers at the time and contributed to Ernst's international success as one of the most gifted Orientalist painters of his generation.


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