Art/ Collection/ Art Object

Maison et Jardin du quartier Franc, au Kaire

Artist:
Maxime Du Camp (French, 1822–1894)
Date:
January 9, 1850
Medium:
Salted paper print from paper negative
Dimensions:
Mount: 12 5/16 × 18 11/16 in. (31.2 × 47.5 cm) Image: 8 3/8 × 5 7/8 in. (21.2 × 14.9 cm)
Classification:
Photographs
Credit Line:
Gilman Collection, Gift of The Howard Gilman Foundation, 2005
Accession Number:
2005.100.376.4
Not on view
Gustave Flaubert (1821-1880) arrived with Maxime Du Camp in Cairo at the end of November 1849. The two friends stayed at the Hôtel du Nil for two months before embarking on their journey to Upper Egypt. They enjoyed the local color, dressed as Egyptians, smoked the narghile, and indulged in all the pleasures available to well-to-do uninhibited young men in search of new experiences.
The twenty-seven-year-old Flaubert had started the journey in a state of depression over his friends' negative response to his first literary effort, the initial draft of "The Temptation of Saint Anthony." During the voyage he would seem to Du Camp bored and aloof, though he was willing to help the photographer prepare his plates. Flaubert staunchly refused, however, to be photographed, and Du Camp was able to take only one picture of him, on January 9, 1850, brooding in the garden of the hotel in a white Nubian cotton shirt, his shaved head adorned with a bright red tarboosh. Du Camp would write later that, to Flaubert, the Egyptian temples all seemed alike and the mosques and landscapes all the same. Despite his seeming indifference, however, Flaubert was amassing a wealth of impressions that would later find their way into such works as his Carthaginian novel "Salammbô" (1862) and the final version of "The Temptation of Saint Anthony" (1874). It was also during this voyage that Flaubert first started to imagine "some deep, great intimate story. . .a passion like a sickness . . ." which would take place in an obscure French provincial town. It was on a cliff overlooking the second cataract at the southernmost part of the journey that he came up with the name of his heroine, Emma Bovary, suggested by the name of M. Bouvaret, one of the owners of the Hôtel du Nil.
Inscription: Inscribed in ink on mount, recto BL: "Egypte."; inscribed in ink on mount, recto BC: "Maison et Jardin du quartier Franc, au Kaire."; inscribed in ink on mount, recto BR: "No. 4."; inscribed in pencil on mount, recto BRC: "3".
Maxime Du Camp; Eugène Viollet-le-Duc (presumed); [...]; André Jammes, Paris; [Graphics International, Ltd., Washington, D.C.]; Gilman Paper Company Collection, New York, September 1, 1978

Israel Museum. "Focus East," July 26, 1988–October 4, 1988.

The Metropolitan Museum of Art. "The Waking Dream: Photography's First Century, Selections from the Gilman Paper Company Collection," May 25, 1993–July 4, 1993.

Edinburgh International Festival, Edinburgh, Scotland. "The Waking Dream: Photography's First Century, Selections from the Gilman Paper Company Collection," August 7, 1993–October 2, 1993.

National Gallery of Art, Washington D.C. "The Waking Dream: Photography's First Century, Selections from the Gilman Paper Company Collection," June 19, 1994–September 11, 1994.

The Metropolitan Museum of Art. "Along the Nile: Early Photographs of Egypt," September 11, 2001–December 30, 2001.

The Metropolitan Museum of Art. "Master Photographs from the Gilman Collection: A Landmark Acquisition," June 28, 2005–September 6, 2005.

Du Camp, Maxime. Égypte, Nubie, Palestine et Syrie: dessins photographiques recueillis pendant les années 1849, 1850 et 1851, Paris: Gide et Baudry, 1852. Nineteenth Century Collections Online. http://tinyurl.galegroup.com/tinyurl/i7P27.

Undena Publications, ed. The photographic heritage of the Middle East : an exhibition of early photographs of Egypt, Palestine, Syria, Turkey, Greece & Iran, 1849-1893. Malibu, 1981.

Hambourg, Maria Morris, Pierre Apraxine, Malcolm Daniel, Virginia Heckert, and Jeff L. Rosenheim. The Waking Dream: Photography's First Century, Selections from the Gilman Paper Company Collection. New York: The Metropolitan Museum of Art, 1993. p. 296.



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