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• W90767067 abstract "Assia Djebar arrives and, confronted with the secondary subjects, those dwarfed homunculi ... she raises the veil from the other planet: her own ... a planet inhabited by beautiful creatures called women, so beautiful fact, both body and mind, that no ordeal, not even that of looking upon us, could disfigure them ... All we left were our eyes to weep for the dispossession, the immense. unequaled loss of this garden of tenderness and charm, due to our own incapacity to see. Mohamed Dib ********** In 1832, the famous painter Eugene was given the opportunity to accompany Count Charles de Mornay on a diplomatic mission to Morocco, the high point of which was a meeting with the Sultan. arrived Tangier on January 24, and stayed there for almost five months. In June, before sailing back to Toulon, he stopped for three days newly conquered Algiers. In Morocco, strode the streets of Tangier and Meknes, sometimes to his own peril, and attended fantasias, but never was he able to visit the interior of a Moslem home. In Algiers, Poirel, the chief engineer of the port, put contact with one of his assistants, who allowed him into his harem. was thus given the opportunity to see something that was haram, i.e., unlawful, protected, (1) and for which he would have risked his life just two years before: a look at women their apartments, the harem. In a few hours he covered seven notebooks with sketches and drawings, transported by a fever tha t would not subside. Back Paris, he painted until his death more than thirty paintings that compose the Orientalist strain of his work. The two most famous are probably Femmes d'Alger dans leur appartement, the first version from 1834 and the second from 1849. These two paintings changed Delacroix's approach to his art for the remainder of his career and fueled Western fantasies of the Orient for decades to come. Along with the other paintings from the same vein, they significantly contributed to the Orientalist movement that was sweeping through France and Western Europe the nineteenth century; as Barthelemy Jobert notes: Delacroix gave Orientalism an entirely new and very personal impulse. (2) Even though interest in, and even fascination for, the forbidden seem to be part of human nature, how can we explain the attraction of paintings by Ingres or Matisse, and especially of these two Femmes d'Alger by Delacroix? It cannot just be because their object is secluded women, otherwise our interest Greek gynaeceum would be as keen. I will argue that this fascination is due to the mix of the forbidden, of women who must not be seen, and of Oriental exoticism. Croutier gives the following definition of Orientalism: [It] is the Western version of the Orient, created by the Western imagination and expressed by Western art forms. It is the East of fantasy, of dreams (173), other words something that does not exist as it appears on a canvas or on the page. Orientalism started before the nineteenth century, when it reached its peak. A French translation of Arabian Nights dates back to 1704. In the eighteenth century, in Paris, Turqueries became the rage, influencing everything, from theater, opera, pai nting, and romantic literature to costume and interior design (Croutier 176). In 1721, Montesquieu published his Lettres persanes. The nineteenth century was crowned by the Salon of French Orientalist Painters 1893 Paris and the Orient Express linking Paris to Istanbul the same year. Often, Orientalism took on a touch of sensuality, possibly even eroticism. Croutier remarks that his Great Odalisque (1814), Ingres had merely transformed a nude woman into an Oriental phantasm by adding a turban, a fan, and a nargileh (179). The twentieth century saw remnants or a reappraisal of Orientalism, painting with Matisse and Picasso, dance with Diaghilev's Scheherazade (1910), films (Ali Baba and the Forty Thieves, Thief of Baghdad, and James Bond's The Spy Who Loved Me), and even television (I Dream of Jeannie). …" @default.
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• W90767067 date "2001-09-22" @default.
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• W90767067 title "Women in Their Apartment: The Trespassing Gaze" @default.
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