France was at this time expanding its African and Near Eastern possessions, often brutally. W. S. Gilbert refers to the "Grace of an odalisque on a divan" in Colonel Calverley's song "If You Want A Receipt For That Popular Mystery" from the Gilbert and Sullivan opera Patience. Find more prominent pieces of nude painting (nu) at Wikiart.org – best visual art database. The “Odalisque” which literally means female slave or member of a harem, has a long history in art, and here are some of my favorites. Titian’s work had established the tradition of the reclining female nude placed in a … In the mind of an early 19th century French male viewer, the sort of person for whom this image was made, the odalisque would have conjured up not just a harem slave, itself a misconception, but a set of fears and desires linked to the long history of aggression between Christian Europe and Islamic Asia. Indeed, Ingres’ porcelain sexuality is made acceptable even to an increasingly prudish French culture because of the subject’s distance.Where, for instance, the Renaissance painter Titan had veiled his eroticism in myth, Ingres covered his object of desire in a misty exoticism. The English and French term odalisque (rarely odalique) derives from the Turkish 'oda', meaning "chamber"; thus an odalisque originally meant a chamber girl or attendant. Ingres’ early Romantic tendencies can be seen most famously in his painting, Here a languid nude is set in a sumptuous interior. Une odalisque est une esclave vierge, qui peut accéder jusqu'au statut de concubine ou de femme dans les sérails ottomans, mais dont la plupart sont au service du harem du sultan. Odalisque Origin France Date 1874 Medium Oil on canvas Inscriptions Inscribed upper right: Jules. For a long time, naked woman were only allowed to be depicted in biblical or … For other uses, see France was at this time expanding its African and Near Eastern possessions, often brutally. The gentlemen who wish to buy an odalisque or a wife, make their offers.

Might the myth of the barbarian have served the French who could then claim a moral imperative? 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.This article is about the women in the Ottoman Empire. A celebration of the female form, there has always been a certain tension between the sacred and the profane imbued in this motif that reflects the particular moment in time of the culture it is created in. In western usage, the term has come to refer specifically to the harem Ingres' contemporaries considered the work to signify Ingres' break from Neoclassicism, indicating a shift toward exotic Romanticism. At first glance this nude seems to follow in the tradition of the Great Venetian masters, see for instance, Titian’s Instead, Ingres has created a cool aloof eroticism accentuated by its exotic context. Remember that the Ingres actually returned to Neo-Classicism after having rejected the lessons of his teacher, David, and after having laid the foundation for the emotive expressiveness of Romanticism, the new style of Gericault and the young Delacroix that Ingres would eventually defend against. The word "odalisque" is French in form and originates from the Joan DelPlato has described the term's shift in meaning from Turkish to English and French: ‘Odalisque’ was created in c.1749 by Francois Boucher in Rococo style. Dr. Beth Harris and Dr. Steven Zucker provide a description, historical perspective, and analysis of Ingres’s It would be easy to characterize Ingres as a consistent defender of the Neo-Classical style from his time in David’s studio into the middle of the 19th century. From Wikipedia, the free encyclopedia Grande Odalisque, also known as Une Odalisque or La Grande Odalisque, is an oil painting of 1814 by Jean Auguste Dominique Ingres depicting an odalisque, or concubine. By the later 19th century, Turkish writers such as Melek Hanum used the word odalisque to refer to slave-concubines when writing in English:If any lady possesses a pretty-looking slave, the fact soon gets known. Dimensions 102.4 × 200.7 cm (41 5/16 × 79 in.) Odalisques were the most popular subject of Matisse's Nice period, during the 1920s. By the way, has anyone noticed anything “wrong” with the figure’s anatomy? LeFebvre 1874. Credit Line George F. Harding Collection Reference Number 1983.381 Extended information about this artwork. Careful—the word “Orient” does not refer here to the Far East so much as the Near East or even North Africa.In the mind of an early 19th century French male viewer, the sort of person for whom this image was made, the odalisque would have conjured up not just a harem slave, itself a misconception, but a set of fears and desires linked to the long history of aggression between Christian Europe and Islamic Asia. Precedents for Ingres’s La Grande Odalisqueinclude works by Giorgione and Diego Velazquez, and the reclining pose and direct gaze directly and specifically recall Titian’s Venus of Urbino.


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