Theodoros Rallis Greek, 1852-1909

Irene Walton, Montreal
Pinneys, Montreal
purchased from the above by the present owner

H.W. Janson,  Catalogues of the Paris Salon 1673 to 1881, Paris Salon de 1877, New York & London, 1977, p. 223, no. 1756, listed
Maria Katsanaki, Theodore Ralli, Dictionary of Greek Artists, 16-20th Century, Athens, 1998, p. 85, mentioned

The present work is an important composition, which Rallis painted specifically for exhibition at the 1877 Paris Salon. Praying in a Greek Church, Montparnasse is a prime example of Rallis' genre scenes, both in its combination of religiosity, sensuousness and romantic disposition, and by virtue of its fine sense of narrative. The large scale format of the painting further denotes the importance Rallis attached to this particular work.

In nineteenth century France the circle of patronage was enormously widened by the participation of the growing and newly affluent middle class, and for these new connoisseurs the seal of success was the acceptance of an artist's work for exhibition at the prestigious Salon. The annual Parisian Salon thus became the most important vehicle for artists to gain a reputation and to earn a living. The choice of 'Church genre' was a popular one with artists at the time, as it bridged the gap between the established preference for academic history and religious painting of the Salon jury; the new currents in art, which upheld that a painting should reflect the spirit of its age; and the demands for  decorative pictures of the buying public. By depicting a contemporary scene within a composition that focused on traditional costumes and religious observances, Rallis imbued Praying in a Greek Church, Montparnasse with a sense of timelessness and peacefulness, which enhanced its appeal to a public in the midst of coping with the socio-economic changes that rapid industrialisation and urbanisation had brought about.

Born in Constantinople of Greek descent, Rallis trained in Paris in the studio of leading pompier painter Jean-Léon Gérôme, through the support and patronage of King Otto of Greece. He made his debut at the Paris Salon in 1875, and in 1900 was appointed to the Jury of the Parisian International Exhibition. Gérômes’ legendary draughtsmanship and photographic finish provided a model of perfection, which Rallis emulated with great success, yet, contrary to Gérôme, ethnographical precision and exactitude were also his guiding principles. Depicting young worshippers in a Greek Church, Rallis chose a subject that was close to his heart.

Whilst most of Rallis’ Greek religious genre scenes can be seen as nostalgic recollections of the life and custom of his homeland, the title of the present work suggests that the artist chose to depict members of the local Greek emmigré community in Saint-Germain for his submission to the Salon. Indeed, Ralli’s studio at the time was located on 11 Boulevard du Mont-Parnasse.  The quintessential ‘Greekness’ of the present work is perhaps heightened by the fact that the portrayed scene is set in Paris in the 1870s, yet, from a purely visual point of view, is not recognisable as such, and instead transports the viewer to rural Greece.