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Updated: May 7, 2025
He follows Decamps and Marilhat to the Orient, which he paints with the utmost freedom, so far as the choice of theme is concerned descending even to the danse du ventre of a Turkish café. He paints historical pictures with a realism unknown before his day. He is almost equally famous in the higher class of genre subjects.
Had a Marilhat or a Henri Regnault transferred to canvas a scene like this, when the dazzling light of the sun is beginning to die away in green and rose tints, might he not aptly name his painting the Retour des Champs, a title so often given to landscapes in our misty climate.
Decamps, of whom I was a fanatical admirer, was just in his best period so too were Delacroix and M. Ingres; and all that pleiad of great artists, young then and in the full flush of their powers Leopold Robert, Horace Vernet, Delaroche, my own master Ary Scheffer, Flandrin, and the landscape painters Marilhat and Corot this last, in his first manner, dry and rectilinear, like that of Poussin.
My picture was inspected all the same I need hardly say the grand- parents pronounced it frightful, a regular daub. I hung my head under this double-barrelled censure, and drooped my ears like a whipped spaniel, but I stuck to my opinion, and likewise to my Marilhat. I think it was shortly after this little adventure that I added another "daub" to my "gallery."
It broadened its range immensely, and created its effect by observing the relations of its objects to their environment, of its figures to the landscape, of its subjects to their suggestions even in other spheres of thought; Delacroix, Marilhat, Decamps, Fromentin, in painting the aspect of Orientalism, suggested, one may almost say, its sociology.
My Cairo, built out of the materials of the "Thousand and One Nights," centred around the Ezbekîyeh Place, the strange painting of which Marilhat had sent from Egypt to one of the first exhibitions which followed the Revolution of July.
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