86 - Late 19th-century Spanish school.

Late 19th-century Spanish school. “Oriental Landscape.” Oil on panel. With an apocryphal signature, “E. Lucas,” in the lower right corner. Measurements: 23 x 34 cm; 44 x 56 cm (frame). Provenance: Estate of Ramon Martí Alsina and Ricard Martí Aguiló. Artistic and heritage collection originating in the legacy of Catalan painters Ramon Martí Alsina (1826–1894), a seminal figure of 19th-century Catalan Realism, and his son Ricard Martí Aguiló (1857–1935). Passed down and enriched across successive generations, the collection brings together works from the original holdings of both artists alongside acquisitions made by their descendants. Dedicated to preserving and recovering the family legacy, the descendants actively reacquired works by the painters as they entered the market, progressively expanding the collection to encompass paintings, sculptures, archaeological artifacts, and other items of artistic and historical significance. This painting is part of the late 19th-century Orientalist movement, due to its naturalistic depiction of the East, and at the same time features an impasto technique with warm tones—primarily ochres and earth tones—that reveals the hand of a Spanish artist familiar with Francisco de Goya. Orientalism emerged in the 19th century as a consequence of the Romantic spirit of escape through time and space. The early Orientalists sought to reflect what was lost, what was unattainable, in a dramatic journey doomed to failure from the outset. Like Flaubert in *Salambó*, the painters created meticulous portraits of imagined Orient and pasts, recreated down to the last detail yet ultimately unknown and idealized. During the second half of the 19th century, however, many of the painters who traveled to the Near East in search of that invented reality discovered a different and new country, one whose peculiarities stood out beyond European stereotypes and prejudices. Thus, this new Orientalist school left behind the beautiful odalisques, harems, and slave markets to paint nothing but what they saw: the real Orient in all its everyday dimensions. Along with this shift in vision came a technical and formal change; since the goal is no longer to recreate an imagined world in every detail, the brushstrokes take on an Impressionist fluidity, and the artists focus not so much on depicting local characters and customs as on faithfully capturing the atmosphere of the place—the very identity of the North African peoples.