The painting depicts a group of American settlers attempting to defend themselves against attack by a band of Native Americans. A covered wagon pulled by two horses is at the center of the composition; at left, two Native Americans attack the wagon with war clubs and tomahawks; a figure on the lead horse points a pistol directly at the head of one of his attackers, while a figure at the rear of the wagon shoots another attacker. At right other warriors on horseback ride past the train shooting arrows and wielding tomahawks.
“The Attack on an Emigrant Train” was inspired by the writing of Gabriel Ferry, a contemporary French chronicler of the Gold Rush, and depicts a caravan of American pioneer gold-diggers crossing a prairie, defending themselves against attack by a band of Native Americans. Wimar portrays the Native American as a foe who symbolized hostility and was an obstruction in the path of American progress and territorial expansion.
Painting of a woman holding two sleeping nude babies, wearing white fabric draped over her head and shoulders with abundant blue-green fabric wrapped and loosely gathered around the rest of her body standing in front of a lush background with areas of blue sky peaking through the foliage.
Charity was a popular theme for many 19th-century artists and a subject, which Bouguereau revisited throughout his career. He studied the work of Renaissance masters and was greatly influenced by Classical and early Italian Renaissance art, drawing much of his subject matter from mythological, classical and biblical stories. In “Charity” the carefully arranged poses, highly finished surface, restrained yet rich palette, and dramatic use of light, which are hallmarks of Bouguereau's style, serve to idealize and ennoble the subject.
Depicts a group of Arab warriors on horseback in full gallop charging away from the viewer through the desert landscape.
Renowned for his dynamic compositions of horses and nomadic Arab warriors in desert landscapes, Schreyer’s rapid sketch-like brushstrokes emphasize the forward momentum of the riders. Schreyer traveled to Syria, Egypt and North Africa in the early 1860s where he thoroughly immersed himself in the Arab culture, and the people and arid landscapes of these regions proved to be a rich source of imagery for his subsequent work.
Inscribed on plate: raffet 1850/ San Donato Printed on lower margin: center: L'ARMEE FRANCAISE A LA MAGLIANELLA, / ou l'on dépose les Sacs. / (30 avril 1849, 9 h. du matin.) left: Paris, Gihant frères, Boulevart des Italiens, 5. right: Paris, Imp. par Auguste Bry, 114, M. du Bac.