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“Master Of The Hounds” painted by the famous Orientalist artist Jean Leon Gerome, is an admirable proof of his excellent ability to portray simple subject matter in an exceptionally detailed and attractive manner.


Painted in 1871 at the height of Gérôme's fame, Master of the Hounds depicts a strong and authoritative Bashi-bazouk in a lush forest clearing accompanied by his faithful hunting dogs. A reoccurring subject in Gérôme's oeuvre, the Bashi-bazouk (military reserve troops in service to the Ottoman Empire), became a symbol both of masculine fortitude and the exotic Orient that captured the imagination of the artist's French and American audiences. By the time of Gérôme's first eastern journey in 1856, Eugène Delacroix had already whetted the French public's appetite for pictures of these foreign lands. From 1832-1833, Delacroix had traveled to northern Africa; the paintings he produced from this sojourn abroad present a hyperbolically seductive, aggressive and even violent world, all executed with the artist's characteristic free brushstrokes and dynamic compositions. In contrast to Delacroix's almost manic representations of the Orient, Gérôme's work exudes a disciplined refinement that lent his images a seemingly greater degree of authenticity. Rather than the frenetic cavalrymen who people Delacroix's canvases, Gérôme's figures have a staid, regality to them, exemplified here by the Bashi-bazouk.

Master Of The Hounds - Jean-Leon Gerome - Orientalism Art Painting

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“Master Of The Hounds” painted by the famous Orientalist artist Jean Leon Gerome, is an admirable proof of his excellent ability to portray simple subject matter in an exceptionally detailed and attractive manner. Painted in 1871 at the height of Gérôme's fame, Master of the Hounds depicts a strong and authoritative Bashi-bazouk in a lush forest clearing accompanied by his faithful hunting dogs. A reoccurring subject in Gérôme's oeuvre, the Bashi-bazouk (military reserve troops in service to the Ottoman Empire), became a symbol both of masculine fortitude and the exotic Orient that captured the imagination of the artist's French and American audiences. By the time of Gérôme's first eastern journey in 1856, Eugène Delacroix had already whetted the French public's appetite for pictures of these foreign lands. From 1832-1833, Delacroix had traveled to northern Africa; the paintings he produced from this sojourn abroad present a hyperbolically seductive, aggressive and even violent world, all executed with the artist's characteristic free brushstrokes and dynamic compositions. In contrast to Delacroix's almost manic representations of the Orient, Gérôme's work exudes a disciplined refinement that lent his images a seemingly greater degree of authenticity. Rather than the frenetic cavalrymen who people Delacroix's canvases, Gérôme's figures have a staid, regality to them, exemplified here by the Bashi-bazouk.

Jean-Léon Gérôme was a French painter and sculptor in the style now known as academicism. The range of his oeuvre included historical painting, Greek mythology, Orientalism, portraits, and other subjects, bringing the academic painting tradition to an artistic climax.


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