Drawings
Index to Paintings
1. A Persian
Pedlar
2. Odalisque
3. Head of an Arab
4. Courtyard of a Mosque at Broussa
5. Pasture, Egypt
6. The Temple of Philae
7. View on the Nile
8. On the Nile
9. View on the Nile
10. A Street in Damascus
11. Old Damascus: Jews' Quarter
12. Portions of the interior of the
Grand Mosque of Damascus
13. The Moorish Garden;
A Dream of Granada
14. The Music Lesson
15. Study; at a Reading Desk
16. A Street in Algiers
17. Damascus: Night
18. Study of Nubian Young Man
19. Eastern Scene, Algiers
20. The Light of the Harem
21. Phoenicians Bartering with
Ancient Britons
2. Odalisque
3. Head of an Arab
4. Courtyard of a Mosque at Broussa
5. Pasture, Egypt
6. The Temple of Philae
7. View on the Nile
8. On the Nile
9. View on the Nile
10. A Street in Damascus
11. Old Damascus: Jews' Quarter
12. Portions of the interior of the
Grand Mosque of Damascus
13. The Moorish Garden;
A Dream of Granada
14. The Music Lesson
15. Study; at a Reading Desk
16. A Street in Algiers
17. Damascus: Night
18. Study of Nubian Young Man
19. Eastern Scene, Algiers
20. The Light of the Harem
21. Phoenicians Bartering with
Ancient Britons
The Light of the Harem
Image Details
Title: 'The Light of the Harem'
Date: c1880
Media: oil on canvas
Dimensions: 152 x 84 cm
Location: Private Collection
Picture credit: The Bridgeman Art Library
Interpretation: This is one of Leighton's first paintings to feature Dorothy Dene, a favoured model in the later phase of his artistic career. It harks back to eastern subject matter that Leighton painted after his visit to Damascus in the autumn of 1873. The use of the western models highlights that Leighton was not trying to represent an actual scene or specific event.
>> Next Image
Date: c1880
Media: oil on canvas
Dimensions: 152 x 84 cm
Location: Private Collection
Picture credit: The Bridgeman Art Library
Interpretation: This is one of Leighton's first paintings to feature Dorothy Dene, a favoured model in the later phase of his artistic career. It harks back to eastern subject matter that Leighton painted after his visit to Damascus in the autumn of 1873. The use of the western models highlights that Leighton was not trying to represent an actual scene or specific event.
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