Frederick Arthur Bridgman
Paintings
Cleopatra on the Terraces of Philae
The Sewing Lesson
At the Waters Edge
The Young Scribe
Dans Une Ville de Campagne Alger
In the Harem
A Mounted Cavalryman
At Waters Edge
An Interesting Game
Idle Moments
The Diversion of an Assyrian King
The Prayer
An Egyptian Procession
An Egyptian Procession 2
Pharaoh and his Army Engulfed by the Red Sea
An Egyptian Priest
The Procession of the Bull Apis
Alger Mareh
Halt in the Desert
Young Woman from Constantinople
The Chess Players
Portait of a Woman
La Fete des Bois. Les Bacchantes
After Party. Port Algiers
The Diversion Of An Assyrian King
The Procession of the Sacred Bull Anubis
Almeh Flirting With An Armenian Policeman, Cairo
Design For The Decoration Of An Aeolian Harp
Moorish Girl, Algiers Countryside
Pharaoh's Army Engulfed By The Red Sea
Women At The Cemetery, Algiers
Women Drawing Water From The Nile
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Cleopatra on the Terraces of Philae
Frederick Arthur Bridgman (November 10, 1847 – January 13, 1928) was an American artist known for his paintings of "Orientalist" subjects.
Born in Tuskegee, Alabama, he was the son of a physician. He began as a draughtsman in New York City, for the American Bank Note Company in 1864–65, and studied art in the same years at the Brooklyn Art Association and at the National Academy of Design. He went to Paris in 1866, and in 1867 he entered the studio of the noted academic painter Jean-Léon Gérôme (1824–1904), where he was deeply influenced by Gérôme's precise draftsmanship, smooth finishes, and concern for Middle-Eastern themes. Thereafter, Paris became his headquarters. In 1874, he was elected into the National Academy of Design as an Associate member, and became a full member in 1881.[1]
Bridgman made his first trip to North Africa between 1872 and 1874, dividing his time between Algeria and Egypt. There he executed approximately three hundred sketches, which became the source material for several later oil paintings that attracted immediate attention. Bridgman became known as "the American Gérôme", although Bridgman would later adopt a more naturalistic aesthetic, emphasizing bright colors and painterly brushwork. His large and important composition, The Funeral Procession of a Mummy on the Nile, in the Paris Salon (1877), bought by James Gordon Bennett, Jr., brought him the Cross of the Legion of Honor.
Additional visits to the region throughout the 1870s and 1880s allowed him to amass a collection of costumes, architectural pieces, and objets d'art, which often appear in his paintings. John Singer Sargent noted that Bridgman's overstuffed studio, along with the Eiffel Tower, were Paris's must-see attractions. Though Bridgman maintained a lifelong connection to France, his popularity in America never waned. Indeed, in 1890, the artist had a one-man show of over 400 pictures in New York's 5th Avenue galleries. When the show moved to Chicago's Art Institute, it contained only 300 works – testimony to the high number of sales Bridgman had made.
A Street Scene in Algeria
One of Bridgman's most recognized Orientalist images, A Street Scene in Algeria, is exceptional for its biographical and historical significance. Many of its details can be considered "signature" motifs of the artist, and its subject, a pointed record of travel. In keeping with Bridgman's tendency in the 1880s to focus on intimate domestic subjects, two seated male figures are given pride of place in the center of the composition, gesticulating while they chat.
Other paintings by him were An American Circus in Normandy, Procession of the Bull Apis (now in the Corcoran Gallery of Art, Washington, D.C.), and a Rumanian Lady (in the Temple collection, Philadelphia, Pennsylvania).
Recently, works by the painter have sold at auction in the price range of $250,000 USD to $350,000 USD.
References
http://www.nationalacademy.org/academy/national-academicians/
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