In the center of this work, we see a model standing upright, her posture reminiscent of a classic ballet stance. Her green harem pants evoke Turkish attire commonly worn by men in Ottoman Palestine. She is dressed in a delicate lilac shirt, an embellished black vest, and a golden belt ending in a snake head with red eyes. On her feet are turquoise slip-on shoes adorned with a red pompom, and on her head a green scarf with red motifs. Her appearance is an eclectic combination reminiscent of costumes from movies about the East or a Bezalel-style costume ball. When this work was displayed at an exhibition in Paris, critics noted the dominant green hues typical of Islamic art, symbolizing growth and prosperity.
The model stands on a red carpet that diagonally leads us into the depth of the room, ending at a potted plant next to the green wall. Behind her, on the wall, hangs a landscape painting, presumably of the road to Jerusalem. A path wanders alongside a rural settlement, drawing our gaze inward to an imaginary horizon line. To her left is a dresser, with a mirror revealing a self-portrait of the artist, the young Moshe Castel. He sits before us, painting the model and offering us a view from behind.
This work was exhibited in a group exhibition at the Tower of David upon the completion of Castel’s studies at Bezalel under Boris Schatz. Castel took it with him to Paris as his entry ticket to the Julian Academy. This piece was created during the transitional phase from his studies at the historic Bezalel in Jerusalem to his relocation to Paris, then the epicenter of art. At this early stage, Castel is already engaging with profound themes. The work prompts reflections on the depiction of women in art — whether as muses or mere objects of the male gaze — and delves into Orientalism, exploring how the West perceives the East.
