By Sunbul Sayedi
In the mesmerising world of 19th-century Orientalist art dominated by Western perspectives, Osman Hamdi Bey, an Eastern man, emerges as a luminary whose art defied boundaries and challenged the status quo.
Orientalism, which is basically a Western outlook on the East, has long been a subject of fascination, criticism, and wonder for intellectuals.
It emerged as a trend following Napoleon's expedition to Egypt in 1798, which prompted a wave of European explorers to travel to cities like Damascus, Cairo, and Istanbul to understand local languages, religions, and cultural practices.
Western artists from that time, often referred to as orientalists, sought to depict the image of the Eastern world through their own biased lens, which resulted in paintings laden with imaginary and condescending elements.
However, Hamdi Bey, while trained in orientalist style art, didn’t adhere to the Orientalist depiction of people and surroundings in the late stage of the Ottoman Empire.
Instead, his art is infused with raw imagery, which captivated him and remains a subject of diverse interpretations.
Artistic journey
Born in 1842, Hamdi Bey emerged as one of the most celebrated cultural figures of late Ottoman history. As the son of Ibrahim Edhem Pasha, a prominent Ottoman grand vizier or high-ranking official in Muslim governments, he was raised in an influential family. He received his early education in Besiktas, Istanbul, before enrolling at the School of Law in 1856.
Hamdi Bey's artistic odyssey began with an educational sojourn in Paris, under the guidance of his family, who supported his ambitions. While his father wanted him to become a lawyer, Hamdi Bey gravitated towards the realm of painting and enrolled at the prestigious Paris Ecole des Beaux-Arts.
It was there that he encountered influential orientalist artists Jean-Leon Gerome and Gustave Boulanger, whose works exuded a distinct orientalist style.
Under their tutelage, Hamdi Bey’s artistic footprint expanded, breathing life into his canvases with a vibrant fusion of Western techniques and an enchanting portrayal of Ottoman life.
Born and raised in Istanbul, Hamdi Bey was at a unique vantage point —a true insider exploring the very themes that typically captivated Western artists.
‘Turning the gaze back’
As a man hailing from the East, his perspective and lived experiences were inherently different, says art historian Habibe Bektasoglu to TRT World.
Unlike many Western orientalists who tended to depict fantastical scenes, Hamdi Bey focused on presenting the Orient in a dignified, respectful, and authentic manner.
We see it in his distinct preference for portraying scenes of “Ottoman intellectuals reading or discussing,” rather than “fatalist, lazy, and lascivious Orientals,” argue art historians Semra Germaner and Zeynep Inankur in their book “Constantinople and the Orientalists”.
“It should be noted that Osman Hamdi Bey was an Eastern man. The harem (section of a household for women) is not exclusively a palace institution; he lived with his wife and daughters, so it is quite natural for him to depict real images of domestic life and the societal position of women,” further adds Bektasoglu.
Generally, European artists used derogatory elements in their paintings about Eastern society.
Encouraged and facilitated by imperialist and colonialist European powers in their travels across occupied lands, the Orientalist writers and artists meticulously mapped cityscapes, documented architectural marvels, and depicted the diverse people and their customs, but not always in their authentic forms.
Their works mainly centered on women - how they entertained themselves, how they dressed, or lived in the harem. When it came to Eastern men, an Orientalist painter was mostly preoccupied by how Eastern men spend their time in coffeehouses?
Take the example of the works of Gerome, Hamdi Bey’s French teacher.
Even though it was impossible for Gerome to enter the harem or hamam, we see that he depicted these private places in his paintings in vibrant hues, evoking a sense of fascination and transporting viewers to an exotic realm.
This is where Osman Hamdi Bey departs from western Orientalist artists, according to Bektasoglu.
"Being aware of the fashion of the period, he endeavored to authentically portray Ottoman culture through his art to those who were unfamiliar with the intricacies of his homeland."
One striking departure from the European orientalist tradition isHamdi Bey's avoidance of nudity as a motif in his works.
Instead of depicting stereotypical nude women in hamam, he painted the "Girl Reciting the Quran," an 1881 masterpiece that made headlines in 2019 when it fetched a staggering $7.7 million at a Bonhams auction in London.
It broke his own previous record set by "In Front of the Mosque" sold for $4.5 million in 2016, and his most famous painting “The Tortoise Trainer”, sold for $3.5m in 2004.
These extraordinary sales highlight the enduring appeal and remarkable impact of Hamdi Bey's artistry.
Navigating the 'East and West dichotomy'
To truly become acquainted with Hamdi Bey's perspective, we must explore the historical and cultural context in which he lived. The late Ottoman Empire was grappling with the tension between Eastern and Western influences, with a society in flux.
As a pivotal figure of the Tanzimat period, Hamdi Bey navigated the dichotomy between East and West, and his works suggest artist to often reflect this struggle.
Some of his controversial works may have been produced under the influence of his teachers or used orientalist elements to attract the attention of European artists.
Since Hamdi Bey exhibited his works in the West, they should be evaluated in terms of the trends of the period, suggests Bektasoglu.
However, Hamdi Bey's artistic repertoire encompasses a rich tapestry of subjects beyond the confines of orientalism,Bektasoglu further adds.
His diverse body of work includes masterpieces like "Flowers in a Vase," "Views from Eskihisar," “Details from the Mustafa Pasha Complex in Gebze," views from the region of Gebze where his summer residence was located, drawings of ordinary people, and "A Woman Looking at Istanbul”, all of which have not garnered enough attention and evaluation due to an over-emphasis and “over-reading” of few of his works in the process of understanding Hamdi Bey’s oeuvre and its relation to orientalist discourse, argues art historian Edhem Eldem in his essay “Osman Hamdi bey: New Interpretations”.
To label Hamdi Bey as a mere Orientalist painter would be an oversimplification of his artistry. A proper "reading of one or another of his paintings will easily reveal what was intended from the very beginning," Eldem writes. “He may be orientalist in style, but his intentions were quite different from those of his European colleagues.”
Within Osman Hamdi Bey's artistic oeuvre, a fascinating interplay between tradition and rebellion emerges. Rather than merely absorbing Western Orientalist motifs, he wielded them as tools of subversion, turning the gaze back upon itself. In a masterstroke of cunning, he employed familiar forms and techniques with the aim to challenge European dominance and redefine Oriental imagery.
Through this paradoxical mimicry, he offered a hidden resistance, sowing the seeds of political and cultural defiance beneath the surface of his art.
Until today, scholars and art enthusiasts continue to reassess Hamdi Bey's legacy and engage in a nuanced dialogue surrounding Orientalism and its impact on his work, as they still continue to bewitch a large audience worldwide.
‘Million-Euro painting!’
Osman Hamdi Bey's painting titled "Woman in a Ferace" was sold for 1.27 million euros at the Dorotheum auction house in Vienna on May 2, 2023.
The introduction to the artwork was as follows: Million-Euro Painting! The painting offers an intimate portrayal of a privileged young lady in the harem, preparing herself for an outing. She gazes into a mirror, dressed in a yellow/ochre gown, showcasing Osman Hamdi's interest in capturing the fashion of his day. With a Yemeni headscarf, her black kaftan resting nearby, and the room adorned with ornate details like a kavukluk and a luxurious blue sofa, the scene exudes Ottoman elegance. Kneeling on a silk cushion, she completes her ensemble in front of a floor covered in a traditional mat.
“Details are essential for orientalists, and we can see that Osman Hamdi Bey meticulously incorporated decorations into his artwork,” comments Tascioglu, making his works the most expensive to be ever sold by a Turkish artist.
By embracing Western techniques while grounding his subject matter in Ottoman traditions, Hamdi Bey contributed to a profound cultural dialogue that transcends the Orientalist lens.
“Osman Hamdi Bey beyond vision”
Over the years, inspiring artists have tried to decipher the deeper meanings in Hamdi Bey’s paintings.
Even scientists have gotten involved in the quest to find Hamdi Bey’s secrets.
A project started in 2016 by Sakip Sabanci Museum and supported by Bank of America Merrill Lynch's global "Art Conservation Project," presents an in-depth exploration of Osman Hamdi Bey's celebrated paintings.
With masterpieces like "Flowers in a Vase" and "The Hoca Reading the Quran" taking center stage, this exhibition showcases the comprehensive scientific research and meticulous restoration work conducted on these extraordinary artworks.
Drawing upon cutting-edge scientific methods, the conservation project delves into every aspect of Osman Hamdi Bey's artistic techniques and materials. Through X-ray imaging, hidden charcoal sketches and underlying paint layers were unveiled, providing invaluable insights into the artist's creative process.
Chemical analysis revealed the composition and colour palette of his works, while meticulous cleaning and restoration efforts revived paintings that had suffered from cracks, paint loss, and varnish discoloration.
The exhibition not only brings these restored masterpieces to life but also serves as a roadmap for future conservation endeavors, setting a precedent for the integration of science and art in preserving cultural heritage.
In the hallowed halls of Sakip Sabanci and Istanbul Archaeology museums, where his masterpieces reside alongside the treasures he unearthed, Osman Hamdi Bey's legacy lives on.
It invites future generations to explore the rich tapestry of history and art that he so fervently wove.
