The Morning Ride, John Lavery

Capturing Tangier's Equestrian Elegance: A Morning Ride with John Lavery

In the early 20th century, amidst the rugged beauty of Tangier, Irish artist John Lavery found inspiration in the unique tapestry of his surroundings. The heart of his creative haven was Dar-el-Midfah, perched on Mount Washington, to the southwest of Tangier. Lavery, an adept equestrian, and his daughter Eileen embarked on annual winter pilgrimages to this remote retreat. Accessible only by foot or horseback due to its steep, unmade paths, Dar-el-Midfah became a haven for European expatriates seeking refuge in the enchanting Moroccan landscape.

In the early years of the century, Tangier was rife with challenges, including kidnappings and local brigand raids. Undeterred, Lavery and his daughter became fixtures in the eclectic community of European expatriates. They engaged in pig-sticking forays organized by the British Legation, with Lavery earning the affectionate title of 'President' of the informal Tangier Hunt for a season. His spirited yet uncontrollable 'Barb' horse often joined these events, possibly one of the majestic creatures depicted in his artworks.

After 1909, Lavery's artistic expeditions included not only Eileen but also his new wife, Hazel, and her daughter Alice Trudeau. The young Alice, a frequent model despite her candid remarks about the artistic life, became an integral part of Lavery's creative process. As tensions in Morocco grew, Hazel, uneasy with the region's unrest, acquired 'Lily-Beau,' an elderly white battle-steed with a storied past, reputedly once owned by the Sultan. However, Lily-Beau's fate took an unexpected turn when Alice formed a deep attachment to the steed, leading to humorous escapades involving a regal donkey.

In 1913, Lavery immortalized his unconventional family, including Alice and Lily-Beau, in the painting "In Morocco." This masterpiece, celebrated in Lavery's 1914 retrospective exhibition, received acclaim for avoiding the 'dead formalism' often associated with animal painting. A related work, "A Morning Ride," captures the essence of Tangier's colonial life, blending full-blooded Impressionism with the spontaneous allure of the Moroccan landscape. Stodart Walker, a critic at the time, praised Lavery's ability to convey "the veritable apotheosis of all he feels, knows, and thinks of life and color in Tangier," marking a triumphant chapter in Lavery's exploration of Tangier's artistic possibilities.