Friday, July 25, 2014

Odalisque by French artist Suzanne Valadon (1867-1938)


Suzanne Valadon (1867-1938) The Blue Room (Odalisque) 1923

Valadon Was interested in shaking up preconceived ideas. Here is a tough odalisque, Perhaps more interested in smoking cigarettes & amp; reading than in luring a male companion. Odalisque comes from a Turkish suffix Expressing a function, as sort of English "er" or "ary" might When added to a noun. And oda is a room, a chamber here in a harem. The odalisque Refers to the traditionally used gold female slave in the harem of a Turkish sultan. The term adopté Was During The academic 19C by Europe as a form of artistic eroticism in orientalism. In an interesting twist, Turkish writer Melek Hanum (Hanim) [1814-1873] used the word odalisque referring to a slave as she wrote: "If Any lady possesses a pretty-looking slave, the fact soon gets Known Who The gentlemen wish. to buy an odalisque for a wife, make Their offers. Many Turks, Indeed, prefer to take a slave as a wife, as, in Such box, There Is No need to dread fathers, mothers, or brothers-in-law, and --other undesirable relationships.  "So much for troublesome in-laws.

Orientalism is a term used by art, literary, & amp; cultural studies scholars for the depiction of aspects of Middle Eastern & amp; Eastern cultures by writers & amp; artists from Western cultures. Orientalist painting, depicting mostly "the Middle East" was one of the Many areas of 19C art.


Odalisque by Édouard Manet 1832–1883


Édouard Manet (French artist, 1832–1883) Odalisque

Odalisque comes from a Turkish suffix expressing a function, sort of as English "er" or "ary" might when added to a noun. And oda is a room, here a chamber in a harem.  The odalisque traditionally refers to the female slave or servant in the harem of a Turkish sultan. The term was adopted during the 19C by academic Europe as a form of artistic eroticism in orientalism.  In an interesting twist, Turkish writer Melek Hanum (Hanim) [1814-1873] used the word odalisque referring to a slave in her autobiography Thirty Years in a Harem, as she wrote: "If any lady possesses a pretty-looking slave, the fact soon gets known. The gentlemen who wish to buy an odalisque for a wife, make their offers. Many Turks, indeed, prefer to take a slave as a wife, as, in such case, there is no need to dread fathers, mothers, or brothers-in-law, and other undesirable relations."  So much for troublesome in-laws.

Orientalism is a term used by art, literary, & cultural studies scholars for the depiction of aspects of Middle Eastern & Eastern cultures by writers & artists from Western cultures. Orientalist painting, depicting mostly "the Middle East" was one of the many areas of 19C art.



Thought you might like to read the 1872 Harper's review of Melek Hanum's autobiography.

Henry Mills Alden 1872
Harper's New Monthly Magazine Volume 45

Editor's Literary Record
Thirty Years in a Harem (Harper and Brothers) is a very remarkable book. It purports to be the autobiography of Melek Hanum, wife of H. H. Kibrizli Mehemet Pasha. The imprint of the publishers is a sufficient guarantee that the book is what it purports to be, though the cautious reader will probably very soon recognize the fact that the authoress has an ambition to make a sensation, and accordingly will receive her story with some caution. Those who know the stainless character of her first husband, Dr. Millingen, whom she so violently and unjustly asperses, will look with reasonable suspicion on her nspersion of others who are less well and widely known in Christendom. She does not, indeed, conceal the fact that she is a totally unscrupulous woman; prides herself on her political intrigues; writes with a curiously simple naiveté of the contrivances to which she resorted to secure bribes during her Turkish husband's administration of government in the Holy Land; and even in recording her attempt to palm off upon him another child as her own appears to be far more impressed with a sense of her folly than with any shame at her guilt. The history of such a woman, written with a scarcely concealed purpose to secure from the public a condemnation of her foes, is not only liable to all the suspicion which attaches to extravagant statements, but to the special suspicion which attaches to the extravagant statements of a jealous, humiliated, and wholly unscrupulous woman, who by her own showing disregarded the universal sense of Turkish propriety while seeking a refuge from Turkish persecution among the giaours. But with full allowance made for coloring and misrepresentation, it is certain that this volume gives an interesting view of Turkish life, customs, and laws, such as has never been afforded to the Christian world. Plenty of travelers have looked on the outside, and told us what to an observer it appears to be. Melek Hanum carries us into the interior of Turkish life, describes its corruption, its profligacy, its injustice, its violation of right and of chivalry, its flagrant oppression of the weak, its outrageous tyranny over woman. Her second husband was, in various positions, a leading official of the Turkish government, being at times a Grand Vizier; and it is evident that, in spite of the “subjection of women" in the East, they are greater politicians than in the West. At times her story, which is always dramatic, becomes sensational in its episodes; and certainly if it were a novel, not a biography, we should class it among the sensational romances. Yet this sensationalism is not in the style, which is that of a simple and seemingly untutored narrative, but in the incidents themselves. Indeed, those which are most capable of being highly wrought are told with the greatest simplicity. It is not, however, the story which chiefly interests the thoughtful reader, but the portraiture of Turkish civilization which that story embodies. Government at the Sultan’s court and government in the provinces, political intrigue and domestic life, marriage and divorce, Turkish law and Turkish lawlessness, are all revealed by one who knows whereof she speaks; and the disclosure is such as to demonstrate, even after all allowances are made, that the condition of the “ sick man" is even more desperate than it has generally been supposed to be.


19C Orientalism in mostly European paintings



Egron Sellif Lundgren (Swedish painter, 1815-1875)

Orientalism is a term used by art, literary, & cultural studies scholars for the depiction of aspects of Middle Eastern & Eastern cultures by writers & artists from Western cultures. Orientalist painting, depicting mostly "the Middle East" was one of the many areas of 19C art.


Eugène Delacroix (French artist, 1798- 1863) The Women of Algiers, 1834



Francis Bernard Dicksee (English painter, 1853-1928)



Emile Charles Emile Hippolyte Lecomte-Vernet (French artist, 1821-1900)



Francesco Ballesio (Italian Painter, 1860-1923)



Edward John Poynter (English Classicist painter, 1836-1919) Hot-house Flower




Jean-François Portaels (Belgian artist, 1818-1895)



Moritz Stifter (Austrian artist, 1857-1905)



Pierre Oliver Joseph Coomans (Belgian artist, 1816-1889)



Jean-François Portaels (Belgian artist, 1818-1895)



William Clarke Wontner. (British artist, 1857-1930) Safie, One of the Three Ladies of Baghdad 1900


Auguste Toulmouche (French academic painter, 1829-1890) An Exotic Beauty in an Interior


Adolphe Weisz (Hungarian-born French artist, 1838-c 1900) The Odalisque 1884


Alfred Stevens (Belgian Painter, 1823-1906) Woman with Flower Pot


Alfred Stevens (Belgian Painter, 1823-1906) Woman in Oriental Dress



Alfred Stevens (Belgian Painter, 1823-1906) Femme Ay Chapeau de Paille


Gustave Moreau (French painter, 1826-1898) The Toilet



Jean Francois Portaels (Belgian, 1818-1895) Femme Orientale



Godfried Guffens (Belgian painter, 1823-1901) Lady with a Daisy



Jean-François Portaels (Belgian painter, 1818-1895)



Jan van Beers (Belgian artist, 1852 - 1927) Young Arabian girl 1877



Jean-François Portaels (Belgian painter, 1818-1895)



Karl Pavlovich Briullov (1799 - 1852) Turkish Girl 1837



Jean-François Portaels (Belgian painter, 1818-1895)



Katarina Ivanovic (1811 - 1882) Woman in Serbian Dress



Jean-François Portaels (Belgian painter, 1818-1895)



Charles Edward Marshall (British artist, 1872-1922) A portrait of a woman



Jean Francois Portaels (Belgian artist, 1818-1895) An Oriental Beauty



Charles Gleyre (Swiss artist, 1806-1874) Angelica



Jean-François Portaels (Belgian painter, 1818-1895)



Emile Vernet-Lecomte (French artist, 1821-1900)



Jean-François Portaels (Belgian painter, 1818-1895)


Jean-François Portaels (Belgian painter, 1818-1895)


Emile Vernet-Lecomte (French artist, 1821-1900)




Jean-François Portaels (Belgian painter, 1818-1895)



Emile Vernet-Lecomte (French artist, 1821-1900) Beauté orientale



Jean-François Portaels (Belgian painter, 1818-1895) Fille de Jepheté



Emile Vernet-Lecomte (French artist, 1821-1900)



Jean-François Portaels (Belgian painter, 1818-1895) The Pearl Necklace



Emile Vernet-Lecomte (French artist, 1821-1900)



Franz Xavier Kosler (Austrian artist  1864-1906) An Oriental Beauty



Emile Vernet-Lecomte (French artist, 1821-1900)



Emile Vernet-Lecomte (French artist, 1821-1900) Berber Woman



Franz Xavier Kosler (Austrian ,1864-1906) Femme fellah egyptienne



Emile Vernet-Lecomte (French artist, 1821-1900) Une beauté grecque



Franz Xavier Kosler (Austrian artist ,1864-1906) Portrait of a young Egyptian girl



Emile Vernet-Lecomte (French artist, 1821-1900)



Franz Xavier Kosler (Austrian artist, 1864-1906) L’Anneau d’or



Gaston Casimir Saint-Pierre (French artist, 1833–1916) Waiting



Giovanni Costa (Italian artist, 1833-1893) Jeune femme turque à l’éventail



George C. Michelet (French artist, 1873-?) Fellaha pensive



Hans Alexander Mueller (American artist, 1872-1935)  Eastern Souvenir



Gustave-Henri Aubain (French artist, 1862-1908) Rebecca



George C. Michelet (French artist, 1873-) Jeune Syrienne aux boucles d’oreilles



Jan Frederik Pieter Portielje (Dutch artist, 1829-1895) L’Echarpe Rayée



Jean-François Portaels (Belgian painter, 1818-1895) Le Collier



Jean-Léon Gérôme ( French artist ,1824 – 1904) Femme de Constantinople



Jose Tapiro y Baro (Spanish artist, 1830-1913) Mujer de Color



Jean-François Portaels (Belgian painter, 1818-1895) Le Présent



 Léon-François Comerre (French artist, 1850-1916) Eastern Beauty



Léon-François Comerre (French artist, 1850-1916) Odalisque



Oliver Dennett Grover (American artist, 1861 – 1927) The Mandolin Player



Oliver Dennett Grover (American artist, 1861–1927) Harem Scene The Finishing Touch



Jean-Léon Gérôme ( French artist, 1824–1904) Circassian Girl



Jean-François Portaels (Belgian painter, 1818-1895) Portrait de Jeune Orientale



Jean-Joseph Constant (French artist, 1845-1902) Portrait of An Arab Woman



Joseph Coomans (Belgian artist, 1816-1889) The Oriental



Leon Belly (French artist, 1827-1877) Young Woman in Turkish Veste



Joseph Coomans (Belgian artist, 1816-1889)



Louis Emile Bertrand (French artist, 1866-1949) La belle Algéroise



Louis Ricardo Falero (Spanish artist, 1851-1896) An Oriental Beauty


Lucien Levy-Dhurmer (French artist, 1865-1953) Portrait d’une berbère marocaine



Max Moreau (Belgian artist, 1902 - 1992) Moorish Woman 1937



Pavel Jovanovic (1859-1957)




 Narcisse-Virgile Diaz de la Pena (French Barbizon School Painter, 1807-1876) Woman and Her Daughter



William Vincent Cahill (American artist, 1878-1924)



Narcisse-Virgile Diaz de la Pena (French Barbizon School Painter, 1807-1876) Oriental Woman 1865



Leon Bakst (1866-1924). Russian Design for Nathalie Trouhanova's Costume as La Péri, c 1910