1847 -1928 · American orientalism, Gérôme's workshop and North African travels

Markets, interiors, banks of the Nile and Algerian light make up the documented but historically situated work of Frederick Arthur Bridgman.

Frederick Arthur Bridgman was born in Tuskegee, Alabama, in 1847. Living in New York at a young age, he worked as a note engraver for the American Bank Note Company while taking courses in Brooklyn and the National Academy of Design. In 1866, he left for Paris and entered the School of Fine Arts in the studio of Jean-Léon Gérôme. He learned from him the precision of drawing, narrative staging and academic finishing. After summers in Pont-Aven, Bridgman turned to North Africa. After summers in Pont-Aven, Bridgman turned to North Africa. After summers in Pont-Aven, Bridgman turned to North Africa. After summers in Pont-Aven, Bridgman turned to North Africa. After summers in Pont-Aven, Bridgman turned to North Africa. After summers in Pont-Aven, Bridgman turned to North Africa. After summers in Pont-Aven, Bridgman turned to North Africa. After summers in Pont-Aven, Bridgman turned to North Africa. After summers in Pont-Aven, Bridgman turned to North Africa. After summers in Pont-Aven, Bridgman turned to North Africa. After summers in Pont-Aven, Bridgman turned to North Africa. After summers in Pont-Aven, markets, interiors and work scenes. Café à Biskra and An interesting game combine carefully observed figures, accessories and architectural space. The Nile Towing Scene gives a monumental scale to the collective effort, while the Moorish Interior transforms decor, light and textile into silent theater. Bridgman then worked in his Parisian studio based on his studies and his collection. His book Winters in Algeria, published in 1890, combines story, ethnography of his time and illustrations. His book Winters in Algeria, published in 1890, combines story, ethnography of his time and illustrations. Highly sought after in Europe and the United States, he remained in France and died in Rouen in 1928. His work must be looked at within the framework of 19th century orientalism: it retains many details from the trip, but also organizes North Africa according to the expectations and imaginary constructions of Western audiences. The "Frederick Arthur Bridgman" selection notably compares Café à Biskra, Algeria and Moorish Interior. His reading favors the story.

Bridgman transforms the travel diary into an academic scene: the observation remains precise, but the gaze fully belongs to the orientalism of his time.