In the late 18th century, the Ottoman Empire, the domestic power of the Muslim "ruler of all believers" with today's Turkey as its heartland, was no longer the anti-Christian spectre of past centuries - since the defeat at the gates of Vienna in 1683, the giant empire had begun to crumble militarily, morally and politically. Nevertheless, it remained a foreign, exotic world, closed to most Europeans, about which there were more rumours and legends than facts in circulation. It was reserved for a few contemporaries to report from "Turkey" in words and pictures; among them was the painter, draughtsman and illustrator Luigi Mayer.
Luigi Mayer was virtually predestined to look beyond the cultural horizon: as his name suggests, he was the son of an Italian mother and a German father. He was born in Rome in 1755, trained by the renowned engraver Piranesi and made drawings of the antiquities on the island of Sicily. His client was Ferdinand, King of Naples (which included Sicily until 1869).
In 1776 Mayer began his second career: In Istanbul he was joined by Sir Robert Ainslie, then British Ambassador at the "High Gate", who from then on financed his educational and working trips throughout the entire Ottoman Empire - combined with the task of providing the ambassador with impressions. For Ainslie was not only a career diploma, he was highly interested in the Ottoman Empire. And so Luigi Mayer travelled for almost sixteen years, until 1792, through landscapes as diverse as Egypt, Bulgaria, Palestine, Rhodes, Romania, Syria or Cyprus - because all these countries were still under the control of the Sultan in Constantinople at that time. By the way, Bulgaria and Romania were on the route from Ainslies' homeward journey to England.
Mayer's Oriental paintings and drawings became very popular in Great Britain from 1800 onwards - perhaps also because "the Turks" were temporarily among England's allies against Napoleon - were "lithographed" and appeared as an illustrated book with annotations in three different languages: English, German and Italian. It was only these comments that made the "Mayer Collection" a bestseller, because without explanations some of the illustrations would simply have remained alien to the viewer. For Mayer had not only painted temples, palaces or mosques. He had also dealt with the everyday life of ordinary people, with their traditional costumes and social customs, including profession and trade.
Mayer died in 1803 at the age of 48; the strenuous traveling life may have taken its toll. A year earlier Sir Robert Ainslie had ended his political career as a Member of Parliament for the county of Somerset. Mayer's paintings hang in the museums of various nations, his collection of drawings is now in the British Museum.
In the late 18th century, the Ottoman Empire, the domestic power of the Muslim "ruler of all believers" with today's Turkey as its heartland, was no longer the anti-Christian spectre of past centuries - since the defeat at the gates of Vienna in 1683, the giant empire had begun to crumble militarily, morally and politically. Nevertheless, it remained a foreign, exotic world, closed to most Europeans, about which there were more rumours and legends than facts in circulation. It was reserved for a few contemporaries to report from "Turkey" in words and pictures; among them was the painter, draughtsman and illustrator Luigi Mayer.
Luigi Mayer was virtually predestined to look beyond the cultural horizon: as his name suggests, he was the son of an Italian mother and a German father. He was born in Rome in 1755, trained by the renowned engraver Piranesi and made drawings of the antiquities on the island of Sicily. His client was Ferdinand, King of Naples (which included Sicily until 1869).
In 1776 Mayer began his second career: In Istanbul he was joined by Sir Robert Ainslie, then British Ambassador at the "High Gate", who from then on financed his educational and working trips throughout the entire Ottoman Empire - combined with the task of providing the ambassador with impressions. For Ainslie was not only a career diploma, he was highly interested in the Ottoman Empire. And so Luigi Mayer travelled for almost sixteen years, until 1792, through landscapes as diverse as Egypt, Bulgaria, Palestine, Rhodes, Romania, Syria or Cyprus - because all these countries were still under the control of the Sultan in Constantinople at that time. By the way, Bulgaria and Romania were on the route from Ainslies' homeward journey to England.
Mayer's Oriental paintings and drawings became very popular in Great Britain from 1800 onwards - perhaps also because "the Turks" were temporarily among England's allies against Napoleon - were "lithographed" and appeared as an illustrated book with annotations in three different languages: English, German and Italian. It was only these comments that made the "Mayer Collection" a bestseller, because without explanations some of the illustrations would simply have remained alien to the viewer. For Mayer had not only painted temples, palaces or mosques. He had also dealt with the everyday life of ordinary people, with their traditional costumes and social customs, including profession and trade.
Mayer died in 1803 at the age of 48; the strenuous traveling life may have taken its toll. A year earlier Sir Robert Ainslie had ended his political career as a Member of Parliament for the county of Somerset. Mayer's paintings hang in the museums of various nations, his collection of drawings is now in the British Museum.
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