Who painted Izzet Mohamet Pasha - ci-devant Gouverneur de Salonique?

Izzet Mohamet Pasha - ci-devant Gouverneur de Salonique was painted by Godfrey Thomas Vigne in 1843.

Where can I see Izzet Mohamet Pasha - ci-devant Gouverneur de Salonique?

Izzet Mohamet Pasha - ci-devant Gouverneur de Salonique is held by Victoria and Albert Museum.

What movement is Izzet Mohamet Pasha - ci-devant Gouverneur de Salonique?

Izzet Mohamet Pasha - ci-devant Gouverneur de Salonique is associated with Romanticism.

Artwork

Izzet Mohamet Pasha - ci-devant Gouverneur de Salonique

Godfrey Thomas Vigne , 1843

Izzet Mohamet Pasha - ci-devant Gouverneur de Salonique is a watercolor work on paper by the Romanticist artist Godfrey Thomas Vigne. It dates from 1843 and is held in the collection of the Victoria and Albert Museum.

About this work

The handwritten note below names him Izzet Mohamet Pasha, a governor of Thessaloniki in 1843.

This watercolor shows a man with a long white beard and a red, feathered hat. He’s wearing a dark coat with a high collar and a few small buttons. The background is plain, letting his face stand out clearly.

The handwritten note below names him Izzet Mohamet Pasha, a governor of Thessaloniki in 1843. The artist captured his strong features with loose, quick brushstrokes.

Check out the Victoria and Albert Museum to see more works like this.

Overview

This 1843 watercolour by Godfrey Thomas Vigne portrays Izzet Mohamet Pasha, the former governor of Salonika (Thessaloniki), with distinctive attire and facial features set against a plain background.

Subject & Meaning

The subject, identified by a handwritten note as Izzet Mohamet Pasha, is depicted in a manner emphasizing his individuality through strong facial features and specific, possibly symbolic, clothing elements such as the red feathered hat and dark, buttoned coat.

Technique & Style

Executed with loose, quick brushstrokes, the watercolour showcases Vigne's ability to capture a sense of personality through economical yet expressive means, prioritizing the subject's presence over detailed background.

History & Provenance

The work entered the collection via Frank Vigne, the artist's great-nephew, acquired in two transactions from Charles Griffin of Monmouth in 1978-1979.