Deposited Chateau de Fontainebleau in November 2017
Gerome had quite an orientalist mind, that is very much clear. From his paintings of the exotic soldiers and nude women, mixed with middle eastern colour palettes and merchants in loose exotic clothing, some rich and some poor, it is abundantly clear of his notions for the East. It is also said that perhaps Gerome was a bit of a patriot, given how he looked down in a subtle way on other countries of the east. The painting: Reception of the Siamese Ambassadors at Fontainebleau is another great example. What we see in this painting is the re-establishment of diplomatic relationships and the treaty of peace signed between France and Siam to express prosperity. Gerome took three years (1861-1864) to finish this giant painting (1.28 m x 2.60 m), and what we see feels like a reflection of his mind. The ambassadors, each one of them, even the little boy, bow in front of the Empress, showing respect for the sovereign. Or, if misinterpreted, or interpreted otherwise, it shows submission. However, this notion of submitting takes a bit of a hit, when we see the adorned clothes of the ambassadors. The hat finished with gold, lavish gifts, palanquins, colourful clothes that are rare in that of the public. We can say safely, that the bowing is just a show of deep respect that the Siamese had, and they aren’t afraid of being true to their identity. And that is admirable. It is not about submission and dominance (though it may look like it at first glance), but in fact, it is about equality and mutual respect for each other and the beginning of a time where peace would reign upon the two countries. King Mongkut also presents peace as a form of mutual friendship between France and Siam, and Napoleon III commemorated this moment by hiring Gerome to paint this historical moment.
At first glance, Jean-Léon Gérôme’s canvas visually implies a stark narrative of European imperial supremacy, using the prostrate, crawling posture of the Siamese ambassadors to signal absolute submission before an elevated French throne. However, looking past this initial Western bias, the artwork subtly documents a much more sophisticated masterclass in diplomacy and cultural resilience. By retaining their lavish traditional silks and gold-trimmed attire, the ambassadors refuse to assimilate or appear defeated; instead, they are deliberately practicing Phraphenee, a court ritual of profound respect meant to disarm colonial tensions. Rather than a scene of true subjugation, the painting implies a tense but successful political negotiation, where King Mongkut strategically used formal reverence as a shield to secure Siam's sovereignty and ensure it remained one of the very few Southeast Asian nations to completely preserve its independence.
