. English: 'Near Mensheeh. Jany. 15. 1854.' (78) This watercolour by Edward Lear, executed on 15 January 1854, shows the barren banks of the Nile near Mensheeh with two buildings (one of them a mosque?) and two tall palm trees. To the right a nugger, a traditional cargo vessel, is sailing on the calm, reflecting water of the river. This view is constructed is a narrow horizontal format. The scene appears to be taken from aboard ship while travelling along in the middle of the stream. By the time of his second visit to Egypt, Lear had developed his individual style, which, despite its sense of
. English: 'Near Mensheeh. Jany. 15. 1854.' (78) This watercolour by Edward Lear, executed on 15 January 1854, shows the barren banks of the Nile near Mensheeh with two buildings (one of them a mosque?) and two tall palm trees. To the right a nugger, a traditional cargo vessel, is sailing on the calm, reflecting water of the river. This view is constructed is a narrow horizontal format. The scene appears to be taken from aboard ship while travelling along in the middle of the stream. By the time of his second visit to Egypt, Lear had developed his individual style, which, despite its sense of detailed observation, mostly emphasizes sensitive colouring and rather swooping pencil lines. Lear tended to scribble notes onto the image clearly marking them as sketches, including descriptive comments on staffage figures or vegetation, but also on colour hues. Here, Lear has covered the sketch almost entirely with notes on the colours, part of which are broken into a number code, detailing colours such as ‘dull lilac’, ‘lemon’, etc. Although Lear worked in the tradition of British topographical art, his drawings leave behind its documentary attitude, which recorded landscape and geographical features for the benefit of their antiquarian and natural historical associations. If, as in the case of his Egyptian images, the past is alluded to, Lear conveys it with a mysterious and exotic character, rather than attempting to re-establish the historical and particularly biblical topography which had drawn other travellers to the Near and Middle East. It is mostly the colours in their own right which are intended to trigger poetical sentiment in the beholder and characterize the scene as picturesque. In the watercolour the vessel signifies present life and activity, but with the beginnings of modern tourism in the region the artist’s emphasis on its traditional build also conveys the romanticized impression of timelessness, equating the ‘exotic’ and ‘oriental’ pre
Size: 3569px × 1401px
Photo credit: © The Picture Art Collection / Alamy / Afripics
License: Licensed
Model Released: No
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