1. Exoticism, Orientalism and Primitivism in French Painting Delacroix, Ingres, Gérôme, Monet, Gauguin and others

2. Edward Saïd, Orientalism “The Orient was almost a European invention, and had been since antiquity a place of romance, exotic beings, haunting memories and landscapes, and remarkable experiences.” 1978

3. Orientalist art in 19th c. France: focus on a common fascination with a region rather than a movement or a style depiction of aspects of daily life in the predominantly Muslim culture of the Middle East

4. Eugene Delacroix 1798-1863 one of the most renowned Romantic painters of the 19th century traveled to Morocco and Algiers in 1830 rejected Italian pilgrimage normally taken by French artists subject matter began to include Eastern peoples, clothing, decorative objects luminous quality of light vibrant colors

5. The Death of Sardanapalus 1827

6. Liberty Leading the People 1830

8. The Women of Algiers 1834

9. Lion Hunt 1856

11. Jean-Auguste Dominique INGRES 1780-1867

12. Odalisque 1814

14. Odalisque and Slave 1840

15. The Turkish Bath 1862

16. Édouard Manet 1832-1883 Away from Romanticism towards Realism, Impressionism One of the first 19th century artists to approach modern-life subjects as opposed to mythological or Biblical subjects

18. Manet’s Olympia: 1863

20. Gustave Moreau 1826-1898 symbolist illustration of Christian and mythological figures literary ideas over visual images

21. Salomé 1876

22. Jean-Leon Gérôme, 1824-1904 highly influenced by Delacroix visited Egypt in 1850s several subsequent trips to Near Eastnostalgia for a culture in which women were very much in their place, usually the harem or the slave market

23. The Snake Charmer 1880

24. The Moorish Bath 1870

25. Dance of the Almeh (date unknown)

26. Allumeuse de Narghilé

27. Harem Pool (date unknown)

28. A Chat By The Fireside 1881

29. Edward Saïd Orientalism 1979

30. Edward Saïd on contemporary Western depictions of the Middle Eastern man: irrational menacing untrustworthy anti-Western dishonest prototypical

31. The Orient as separate eccentric backward silently different sensual passive

32. Napoleon invades Egypt, 1798 Description de L’Egypt published between 1809-1822 Knowledge as power The Orient as an “exhibition”: the representation is more real than reality Flaubert visits Egypt, 1849

33. Nerval, in Egypt, writing to Gautier, in France: “Think of it no more! That Cairo [the one they had imagined via literature, images, etc.] lies between the ashes and dirt,…dust-laden and dumb. I really wanted to set the scene for you here. But…it is only in France that the cafés seem so Oriental.”

34. Orientalism is “a manner of regularized (or Orientalized) writing, vision, and study, dominated by imperatives, perspectives, and ideological biases ostensibly suited to the Orient.” It is the image of the ‘Orient’ expressed as an entire system of thought and scholarship.

35. The Orient signifies a system of representations framed by political forces that brought the Orient into Western learning, Western consciousness, and Western empire. The Orient exists for the West, and is constructed by and in relation to the West. It is a mirror image of what is inferior and alien (“Other”) to the West. The Orient is reduced to one prototype, not a collection of varying cultures.

36. The Oriental is the person represented. The man is depicted as feminine, weak, yet strangely dangerous because poses a threat to white, Western women. The woman is both eager to be dominated and strikingly exotic. The Oriental is a single image, a sweeping generalization, a stereotype that crosses countless cultural and national boundaries.

37. Orientalist art a reflection of ourselves (the artists) rather than the true Orient our projected dreams and desires

38. ORIENTALISM VS. EXOTICISM?

39. Claude Monet 1840-1926 Waterlillies 1914

40. Houses of Parliament at Sunset 1904

41. Haystack at Sunset 1891

42. Hosukai (Japanese) South Wind Clear Dawn 1831

43. La Japonaise 1876 A response to the phenomenon of “Japonisme” and the obsession in France with all things Japanese

44. Camille Pissarro 1830-1903 Danish, worked in France Paul Gauguin’s mentor and teacher and one of the great Impressionists

45. Peasants Gathering Grass 1881

46. Place du Theatre Français 1898

47. Pont Neuf: Fog 1902

48. Paul Gauguin 1848-1903 From France to the Polynesian Islands From Impressionist to Symbolist

49. Still Life with Peaches

50. Market Gardens of Vaugirard 1879

52. Yellow Christ 1889

53. The Market 1892

54. Aha oe feii? (What? Are You Jealous?) 1892

55. The Spirit of the Dead Keep Watch 1892

56. Tahitian Pastoral 1893

57. Where Do We Come From? What Are We? Where Are We Going? 1897-98

59. Nevermore 1897

60. Women and a White Horse 1903