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A Brit Milah in Tangiers, 1838 (w / c & bodycolour on paper, encrusted with coloured glass)
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A Brit Milah in Tangiers, 1838 (w / c & bodycolour on paper, encrusted with coloured glass)
2956770 A Brit Milah in Tangiers, 1838 (w/c & bodycolour on paper, encrusted with coloured glass) by Murray, Elizabeth (1815-82); Private Collection; (add.info.: A spirited and little known Victorian woman traveller, Elizabeth Heaphy, as she then was, arrived in Tangiers in 1839: a talented and intrepid eighteen year old artist, she had set out for adventure reliant entirely on her pen and brush. Tangiers was her first port of call, and she was to remain there for eight years. In her book Sixteen Years of An Artists Life in Morocco, Spain, and the Canary Islands (London, 1859), she gives a vivid description of a Jewish merchants house in Tangier, and the people, dress and manners therein, many of which appear in this dramatic composition. She married Henry J. Murray (who was HM Consul) soon after arriving in Morocco, and in the early 1850s she became one of the leading lights of and secretary to the Society of Female Painters, a group limited to a membership of twenty-three professional artists.
Later in life Murray moved to Portland Maine, where she was recognised as a " Portland Painter". An image of another painting by Murray can be seen at:
http://www.mainememory.net/bin/Detail?ln=18853
Brit Milah, also known as Bris, is the Jewish covenant of circumcision, performed on an 8 day old infant by the mohel.); Photo eThe Ms Gallery, London; English, out of copyright
Media ID 23260920
© The Maas Gallery, London / Bridgeman Images
Circumcision Moroccan Morocco Tangiers Brit Milah Circumcised
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EDITORS COMMENTS
The captivating print titled "A Brit Milah in Tangiers, 1838" transports us back to a bygone era, capturing the essence of cultural diversity and exploration. Created by Elizabeth Murray, an adventurous Victorian woman traveler and talented artist, this artwork showcases her remarkable skills with watercolor and bodycolor on paper. Intriguingly encrusted with colored glass, the composition depicts a significant moment in Jewish tradition - the Brit Milah or Bris ceremony. Taking place in Tangiers, Morocco, we witness an intimate scene where a mohel performs circumcision on an eight-day-old infant. Murray's attention to detail allows us to immerse ourselves in this vibrant setting. Elizabeth Heaphy (as she was known then) embarked on her journey seeking adventure armed only with her pen and brush. Her arrival in Tangiers marked the beginning of an eight-year stay that would shape her artistic career profoundly. In her book "Sixteen Years of An Artist's Life in Morocco, Spain, and the Canary Islands" published later in London (1859), she vividly describes Jewish merchants' houses and their inhabitants' attire and customs - elements that find expression within this dramatic composition. Murray's life took another turn when she married Henry J. Murray soon after arriving in Morocco. Later becoming one of the leading figures as well as secretary for the Society of Female Painters limited to twenty-three professional artists during the early 1850s. This mesmerizing artwork not only captures a sacred ritual but also serves as a testament to Elizabeth Murray's talent as both an artist and explorer who fearlessly ventured into unknown territories while leaving behind a rich legacy for future generations to admire.
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