FUSTANELLA

[Zeus10]

Po e sjell pak me te zmadhuar Arberi:

[Arbëri]

Allom, Thomas
about 1809 (Painted)


http://collections.vam.ac.uk/item/O1364 ... -woman-of/

Albanians, and Greek woman of Smyrna

Watercolour - Albanians, and Greek woman of Smyrna

* Albanians, and Greek woman of Smyrna
Allom, Thomas
* Enlarge image

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Exhibition
o A Middle Eastern Journey Artists on their travels from the collection of Rodney Searight

[Arbëri]

Si të bëhet me e bukur dhe më profesionale Thema vazhdo , sepse kam problem me kapacitetin e internetit këtu ..

[Arbëri]

Bida, Alexandre
ca. 1851 (drawn)

http://collections.vam.ac.uk/item/O1397 ... -a-nubian/

An Albanian and a Nubian; Arnaute Albanais and Nubien baouab

Date

ca. 1851 (drawn)
Artist/maker

Bida, Alexandre (after, artist)
Materials and Techniques

Black chalk
Marks and inscriptions

Inscribed arnaute Albanais and Nubien baouab, and with initials SF; stamped in red ink A.C. encircled The collector's stamp has not yet been positively identified but Alexandre Colin (1798-1873) has been suggested.
Dimensions

Height: 21.3 cm
Width: 21.3 cm
Historical context note

This appears to be copied from two lithographs by Bida in A. Bida and E. Barbot, Souvenirs d'Egypte, Paris [c.1851], pls [19] and [20].
Descriptive line

Black chalk drawing, An Albanian and a Nubian, about 1851, copy after Alexandre Bida.

[Hymniarber]

Decamps, Alexandre-Gabriel (painter)
ca. 1828 (painted)

http://collections.vam.ac.uk/item/O1427 ... nian-duel/
Albanian duel

* Object:

Watercolour
* Place of origin:

Albania (painted)
* Date:

ca. 1828 (painted)
* Artist/Maker:
Decamps, Alexandre-Gabriel (painter)
* Materials and Techniques:

Water- and bodycolour, with gum, heightened with white
* Credit Line:

Purchased with the assistance of The Art Fund, the National Heritage Memorial Fund, Friends of the V&A and Shell International
* Museum number:

SD.304
* Gallery location:

In store
War-like Albanians, dressed in flowing garments, festooned with daggers, pistols and swords, were a favourite subject for Romantic artists, and Byron chose to be represented in Albanian costume in his famous portrait by Thomas Phillips. In the early 19th century Albanians were alleged to be the fiercest section of the Ottoman forces, and indeed there are many travellers’ descriptions of their alarming appearance. In this watercolour, Descamps had focused on the tension between the two combatants as they glare fiercely at one another and parry with their distinctive short swords [hançer.] Each goads the other on while their cloaks and white kilts [fustan] swirl about them. The drama is echoed by the men and the galloping horses approaching from the background, hoping to intervene before the outcome proves fatal.

Descamps’s oriental subjects resulted from a trip to Greece, Albania and Turkey in 1827-1828. When they were exhibited at the Paris Salon from 1831 onwards, they were highly acclaimed, and in his life time he became almost as famous as that better-known Romantic painter, Eugène Delacroix. Naturally, Descamps has here deliberately chosen a highly-charged subject that he knew would appeal to the Romantic ideas of his patrons, yet it is perfectly possibly that he did witness a duel such as this. Duelling caused by alleged slights of honour appeared frequently in many cultures, and indeed in that same year of 1829 the Duke of Wellington (in plainer costume) fought a duel with Lord Winchilsea in the swampy wasteland of Battersea Fields.

Une do vija bast qe ky lloj dyluftimi allafrëng nuk duhet te jete aq frëng ne thelb, duke pasur parasysh karakterin aspak luftarak te francezeve.

[Arbëri]

Haag, Carl
1871 (painted)


http://collections.vam.ac.uk/item/O1446 ... olour-war/

War

Haag was a prolific and successful painter in watercolours of narrative, genre and portrait subjects. He was born in Bavaria, and came to London in 1847 where he developed an elaborate watercolour technique and a set of appreciative patrons which included Prince Albert and Queen Victoria. Haag continued to paint predominately Eastern subjects for many years after his visit to Egypt, Palestine, Syria and Lebanon in 1858-1860. This watercolour and its companion Peace are two such examples, painted not long before he returned to Egypt in 1873.

The wounded drummer-boy is borne back to camp on his camel and the nearby battle is further indicated by the assorted weapons carried by the two soldiers. Haag may have intended to point a contrast between the young Nubian lad in his uniform of a nizam, or new-style regular soldier in the Egyptian army, and the older Arnavut (Albanian), many of whom had formerly been employed as irregular mercenaries. It is a very sanitized and sentimental view of war, (complete with colourful costumes and scarcely any injuries), only possible before the horrors of mass warfare with modern weapons generally impinged itself on the consciousness of insular Britain. In the year that this was painted, the 1870-1 Franco-Prussian war was taking place. Its reliance on railway time-tables for mass troop movements, and transport of modern artillery, foreshadowed the technological nature of all future wars.

[Arbëri]

Hilaire, Jean-Baptiste
1778 (painted)


http://collections.vam.ac.uk/item/O1455 ... n-soldier/

Albanian Soldier

Hilaire, a pupil of Jean-Baptiste Le Prince, was one of several artists employed by the Comte de Choiseul-Gouffier, the French ambassador in Istanbul, 1784-1792. He had accompanied the Comte on an earlier visit to Greece and Turkey in 1776-79, and contributed numerous illustrations to his publication Voyage Pittoresque de la Grèce, Paris, 1782.

The Albanians were popularly supposed to be some of the fiercest warriors in the Ottoman dominions, and were frequently depicted by travellers who could easily recognise their distinctive costume. Hilair was a meticulous draftsman, using the traditional technique of fine pen and ink drawing, coloured with careful washes of watercolour. Here he has shown in fine detail such things as the splendid coat, the tasselled cap, the embroidered bag, the patterned leggings, and the enormously long çubuk, or cornel-wood tobacco pipe. However, Hilair reminds his audience of the martial nature of this Albanian by indicating the partly visible barrel of his long musket, although the rear view does not permit illustration of the sword, dagger and pistols, normally carried in the belt or sash.

[Arbëri]

Eugène Delacroix
19th century

Study of Three Albanian Arnavuts and a Woman in Albanian Costume

http://www.artnet.com/artwork/424299425 ... stume.html

TITLE: Study of Three Albanian Arnavuts and a Woman in Albanian Costume
ARTIST: Eugène Delacroix
PERIOD: 19th century
CATEGORY: Works on Paper (Drawings, Watercolors etc.)
MATERIALS: Brush and brown ink and watercolour.
MARKINGS: Made up at the lower left and right corners.
SIZE: 229 x 305 mm. (9 x 12 in.)
REGION: French
PRICE*: Contact Gallery for Price

DESCRIPTION: The male figures in this drawing would appear to represent Arnavuts (or Arnauts), Albanian soldiers used by the Pasha of Egypt, Muhammad ‘Ali, as the elite of his regular army. Himself of Albanian descent, Muhammad ‘Ali took power in Egypt in 1805, and used his Arnavut troops to secure his control over the country. Predominantly Muslim, Arnavuts were a warlike mountain people from the region of Epirus, in the northwestern part of the Ottoman Empire. They were described by a later 19th century visitor to Cairo: ‘Their costume is artistically disheveled, their costly weapons as glittering as they are inoffensive, their proud and disdainful poses, their slightest gestures, everything about them seems to have been studied in its effect.’

Albanians were to be found throughout the Near East and were particularly noted for their elaborate dress. In a letter to his mother, written from Epirus in 1809, the poet Lord Byron – who employed a number of Arnavuts as his personal guards - praised the Albanian costume as ‘the most magnificent in the world, consisting of long, white kilt, gold-worked cloak, crimson velvet gold laced jacket and waistcoat, silver mounted pistols and daggers’. He adds that he also bought some of these costumes for himself. A contemporary of Byron’s further noted that ‘The Albanians or Arnauts...are extremely fond of gold and silver ornaments in their dress...The wealthier Arnauts have the outer vest of velvet and gold, richly interwoven with elegant ornaments...The breeches which are white are tied below the knees with a coloured garter...’

The present sheet may be dated to the early 1820’s, when Eugène Delacroix was particularly interested in the costumes and recent history of Greece and Asia Minor. Like many artists and writers of his day, Delacroix was a fervent supporter of the Greek uprising against Turkish domination that took place between 1821 and 1832. In January 1824 he began his large painting of The Massacres at Chios, intending to exhibit it at the Salon later that year, and it may be noted in passing that the standing figure at the left of this drawing is similar in appearance to the wounded soldier at the left of the painting, today in the Louvre.

For this important canvas, as well as for a number of other, smaller works with figures in Greek or Turkish dress painted by Delacroix between 1823 and 1826, the artist was careful to accurately depict particulars of local costume. To this end he borrowed some costumes from the painter and sculptor Jules-Robert Auguste, and also copied details from books on Oriental and Near Eastern costumes in the Bibliothèque Nationale. The figures in the present sheet are, in fact, derived from just such a book; Joseph Cartwright’s Selection of the Costume of Albania and Greece, published in London in 1822. Cartwright was a British marine painter who lived for several years in the Ionian Islands, and made a large number of drawings of local costumes and scenery. On his return to England he published Views in the Ionian Islands in 1817 and, five years later, Selection of the Costume of Albania and Greece. The latter was illustrated with full-page colour prints engraved by Robert Havell after Cartwright’s original drawings, and it is from these that Delacroix took inspiration when working on the present sheet.

The seated figure holding a long pipe at the centre of the drawing is taken from plate I of Cartwright’s book, simply entitled ‘An Albanian’, while the standing man at the left appears on plate IV, above the caption ‘An Albanian of Jannina’. Similarly, the woman at the bottom of the sheet is found on plate VIII of the book, accompanied by a quotation from Byron’s Childe Harold’s Pilgrimage.

A further development of these studies is seen in a finished watercolour by Delacroix in a private collection in Athens, in which the two male figures at the left and centre of the present sheet reappear, placed closer together and in a landscape setting. More highly finished than the present sheet, the Athens drawing must have been derived from it, and was probably intended as an independent composition.

[Socio]

This is an original painting on an original 1807 publication. An old book I got at the library:



... drawn by John Cam Hobhouse on his trip to Albania in 1807

[ALBPelasgian]

Arber, te lumte per punen qe po ben!

Socio, te falemnderit per materialin e cmueshem! Ka ndonje mundesi qe ajo sigla e 'English Library' te hiqet? Por edhe nese s'hiqet, s'eshte fare problemi per shkak se figurina kryesore - shqiptari me fustanelle - verehet qarte.

[Arbëri]

Arber, te lumte per punen qe po ben!

Socio, te falemnderit per materialin e cmueshem! Ka ndonje mundesi qe ajo sigla e 'English Library' te hiqet? Por edhe nese s'hiqet, s'eshte fare problemi per shkak se figurina kryesore - shqiptari me fustanelle - verehet qarte.

Kështu më pëlqen edhe mu , me autorin e vet gjdo fotografi edhe mi linkun e vet , qe te jet 100% tamam

[Arbëri]

[Arbëri]

"Zeus10"The short garment appears on the ancient artifacts:





Since most of the greatest fighters of the so called Greek revolution were from Epirus(Albanians) and Arvanites(Albanians) the new Greek state adopted this costume as a garment for the Evzones, Proedriki Froura (Presidential Guard), an elite ceremonial unit that guards the Greek Tomb of the Unknown Soldier



All the the reliable historical sources tell us that this dress is an original Arbanite(Epiriote-Albanian) dress, but
we really dont need to look the historical sources, to understand where this version was adopted from, just take a look at these pictures:

[ALBPelasgian]

[ALBPelasgian]

Edhe, antishqiptari i madh Oskar Wilde, kur qe ne More veshi Fustanellen, e atyre qe i urrente: