English: A dream-like view of a royal procession in Udaipur, by Marius Bauer

Source: http://www.christies.com/LotFinder/search/LotDetail.asp?sid=&intObjectID=4481798&SE=CMWCAT03+358080+1080411593+&QR=M+1+1+Aqc0000900+348290++Aqc0000900+&entry=india&SU=1&RQ=False&AN=2 (downloaded Mar. 2005)

"Marius Bauer (Dutch, 1867-1932). Optocht met olifanten: a colourful procession in Udeipur, India, signed 'MBauer' (lower left); oil on canvas. 60.5 x 47.5 cm.

Lot Notes: Marius Bauer's predilection for the Orient was apparent before he had ever visited the region. He was inspired by the writings of his contemporaries Lodewijk van Deyssel of the 'Beweging van Tachtig' literary movement and Marcellus Emants who had travelled to India in 1892/3. The commission in 1894 to illustrate the Oriental story Akkdyssiril by Villiers de l'Isle Adam, prompted Bauer to begin producing drawings and etchings with Indian subjects. It was not until 1897 that Bauer actually set foot on Indian soil. This first journey lasted four months and took him from Bombay to Benares, Agra, Gwalior, Muttra, Dig, Bindraban, Delhi, Jaipur, Udeipur, Ajmer, Palitana, Baroda and Hyderabad. The numerous sketchbooks in which he documented his journey and the many letters and travel accounts he sent to friends and the weekly magazine 'De Kroniek' give us a wonderful insight into the deep impression India had on him. The previous and the present lot are extraordinary examples of the work which resulted from his travels through India. The present lot, depicting a colourful procession with elephants leaving a palace gate, was painted circa 1918 and predates the enchanting pair of paintings with remarkably similar subjects. These were executed around 1926 following Bauer's second journey to British India.... It is noteworthy that Bauer painted these works some time after his actual visit. This goes some way in explaining the almost otherwordly atmosphere which permeates these works. Bauer is able to combine a precise eye for details in architecture, costumes and the complex working of light in ancient Indian cities with a certain idealisation from memory which infuses the whole with a sense of the magical.

It is precisely this 'transparent veil' which Bauer describes that forms a large part of the appeal of these paintings. According to Bauer it is not the depiction of reality alone which forms the challenge in art but envisioning the chimerical, to heighten reality with an impression of the mythical."