This painting is part of William Bouguereau's youthful works and testifies to the learning methods of the time, consisting in particular of copying his predecessors. The stamp of the color merchant Deforge on the back of the painting allows us to date the work between 1840 and 1856 and the signature characterized by a typology from the beginning of his career allows us to think that the work is located between his entry into the Picot's workshop in 1846 and his departure for Rome in 1850. An erased sketch for another work whose frame served as a support for our painting was found, this one has since been removed. It is interesting to note that Bouguereau was inspired by Delacroix, even though art historians have subsequently often underlined the dissimilarities between these two artists.

Delacroix painted his famous painting Women of Algiers in their apartment in 1834, following a trip he made to Morocco and Algeria. It was there, in Algiers, that a Turkish corsair allowed him to visit his harem. From this vision he draws his inspiration for this masterpiece of Orientalism which enriches the aesthetic repertoire of the second half of the 19th century with new motifs.

The Orient, object of all fantasies since the 17th century, was then an obligatory passage for artists in the same way as the representation of mythological or religious subjects. For Victor Hugo, the Orient becomes, “for the minds as much as for the imaginations, a kind of general preoccupation” (Victor Hugo, preface to Les Orientales, 1829). Théophile Gautier underlines the importance of this theme and this pictorial atmosphere for future generations of artists by writing "The trip to Algiers becomes for painters, as essential as the pilgrimage to Italy: they will learn the sun , studying the light, looking for original types, primitive and biblical customs and attitudes”. To the great masters of the Renaissance and classicism is now added the copy of orientalist painters. A major work in the history of French art, Women of Algiers in their apartment will be a source of inspiration for a whole generation, after the death of Delacroix, and following the transfer of the painting from Luxembourg to the Louvre, Henri Fantin-Latour the author of Tribute to Delacroix, will make a copy. As a painter of women, it seems quite natural that William Bouguereau wanted to practice representing this scene of feminine intimacy, the keystone of one of the most fashionable artistic movements of his time. As public collections reveal, many artists will practice copying this iconic work, which will never cease to inspire painters.