Musee d’Orsay and the Three Mixed-media Arabs
I swear I have written about this before, well I have, but just in my notes going way back.
It took James asking about Museum memories for this IndieWeb Carnival March 2026 to get this out. James asked about museum memories and I have many (I may link a list of them which I may write on) and there were at least four that throw me and get me lost in a good way. One of these is this…
Musee d’Orsay and Three Travelers
In 1987 I had my first trip to Paris and was told by many I needed to go to the Musée d’Orsay and many had suggestions of what I must see. The expanse of the museum in an amazing spacious former train station is a gem of a work in and of itself. The stone and light play wonderfully in the space. As we started out for the museum we had to work around Le Tour de Francethat was racing into Paris that morning, it was great to see it. But, arriving in the museum I couldn’t remember what I “should see”.
Toward the end of the main room there were three sculpture busts that called me over. It was three mixed media pieces by Charles Henri Joseph Cordier that were listed together as The Three Arabs (Algerians). Each was a bronze face with alabaster hats and clothing that were moved by the North African breezes. But, one of the three really caused me to pause, consider, and think. It was the Arabe d’El Aghouat en burnous - Charles Henri Joseph Cordier | Musée d’Orsay who had an alabaster robe with hood that went around his bronze face and head.
Part of what struck me was the movement of the alabaster cloth. But, with the cloaked sculpture and a hood, I couldn’t sort out how the hood, face, and head worked. Each angle and time I’d look I was see another detail of the sculpture that drew me in and distracted me from the static mechanics of how it was done. Whomever I’m with often nudges me onward, but my mind is stuck and enrapt with the hooded in hard alabaster bronze face that seems to have the alabaster moving freely like cloth captured and frozen in an instance (yet crafted over much time).
The Returns
I have been back to the Musee d’Orsay three to five times since. With each visit I wander around a little, usually making sure to also see the sub-set of Monet’s studies of light of the West Facade of the Cathedral of Rouen up on the fifth floor. But, I first make sure the three alabaster and bronze sculptures are still there. Early in the visit I will make my way to the three sculptures and take them in anew again. Then I get drawn into the how the hood, head, and face work. The head looks full or mostly full.
This minor mystery to me will still be with me for years between visits. I run into people who are fans of Musee d’Orsay (but, who isn’t) and want to talk about the three Arabs, but nobody I’ve met seems to know they exist. I am so grateful to the museum to have these sculptures on their site, but also Google Maps has them in the 3D exploration of the museum. When others have said they did not see or didn’t notice these sculptures I have to go and check it wasn’t some personal mirage of my own, and it isn’t. But, the mystery of the hood is still real to me. My inspection of the mystery also has me (and sometimes my museum companion for the trip) a little concerned that a guard has flagged me for the close inspection from all angles with fear I am prepping to steal it.
When I am there and taking in the three pieces I am usually the only one around it looking at them for anything more than a few seconds or passing glance. It feels like they are hidden in plain sight.
The Others
The other two pieces are also really well done and I do feel like I have neglected them each visit. Homme du Soudan en costume algérien - Charles Henri Joseph Cordier | Musée d’Orsay is one that the museum site has a decent back story about the work and the artist. He has a strong pose and looks quite determined.
The other is Femme des colonies - Charles Henri Joseph Cordier | Musée d’Orsay and the bronze has more details with an under garment under the alabaster robe, and also has a piece of sturdy jewelry on her upper arm. Her hair stands out with is braiding and spikes. Her stance is mostly strong and confident, with a serious dose of “I’m over it” and taking a break.
These two pieces and the hooded one all do great justice capturing humanity and a moment in time, with more than an essence of being. In these works the museum as brought in everything but the breath of humanity in its glory.
Time to Notice
These pieces stand out to me and I wish others would see them too and be struck by them in the same, or similar, manner. But, I know they are actually there and amazing to someone as others walk by not giving much notice of any kind.
More…
I have more than 30 notes on memories of museums that I’ve been fleshing out a little. I may post the full list and sketch more out with words over time. There are three more museum piece I hope to write in the near future. There is also a piece about cities as museums I really want to finish framing and wrap up its writing.