This post is for people interested in European Orientalist painters. The next series of posts will offer a quick tour of Orientalist art as it developed in Europe during the 19th century (1798-1914.) I will focus on the following collection of images: Odalisques depicted in all their sensuality, bathers, and other harem scenes surrounded by myriad colours and fabrics. My aim is to create a central online place for images and resources on the topic. This includes the material I added/wrote myself and images that I found on the web.
For the purposes of this blog, I will refer to the Orientalism as to an art-historical term. In this restrictive meaning, the term will be related to a small French group of artists of the 19th century who took the Maghreb and the Middle East as their subject matter.
Filippo Lippi, slave in Algiers, paints a portrait of his master. 1819.
Musée d'art Thomas-Henry, Cherbourg-Octeville.
© artistic photo
© Blauel/Gnamm - ARTOTHEK
© Lent by The Minneapolis Institute of Arts, Gift of Georgiana Slade Reny.
Start of a Roman road in Bythiniaca. 1896.
Landscape in Southern Spain
The execution hall in the Alhambra, Granada. 1878
Pau, Museum of Fine Arts
© Photo Jean-Christophe Poumeyrol
des Beaux-Arts de Lausanne.
Decamps, Alexandre-Gabriel. The Turkish butcher. 1850.
Royal Museums of Fine Arts of Belgium, Brussels
© Photography : J. Geleyns
© The Walters Art Museum, Baltimore, Maryland.
© NAJD Collection
Hugo, V. (1880). Les Orientales ; Les feuilles d'automne. Paris, Hachette et cie.
Related exhibitions and online features
Special Exhibitions (including upcoming, current, and past exhibitions)
Royal Museums of Fine Arts, Brussels: From Delacroix to Kandinsky. Orientalism in Europe
The Philippe de Montebello Years: Curators Celebrate Three Decades of Acquisitions
Tate Britain: the Lure of the EAST
Vancouver International Centre for Contemporary Asian Art: Orientalism and Ephemera
Bulletin or Journal articles
Bouffier, Jacques Olivier . "The Tours Sketchbook of Eugène Delacroix." Metropolitan Museum Journal, Vol. 29 (1994). PDF
Kisluk-Grosheide, Daniëlle O. "A Japanned Secretaire in the Linsky Collection with Decorations After Boucher and Pillement." Metropolitan Museum Journal, Vol. 21 (1986). PDF
Naef, Hans and Claus Virch. "Ingres to M. Leblanc: An Unpublished Letter." The Metropolitan Museum of Art Bulletin, v. 29, no. 4 (December, 1970). PDF
Grube, Ernst J., et al. "Art Treasures of Turkey." The Metropolitan Museum of Art Bulletin, v. 26, no. 5 (January, 1968).
"Director's Note" PDF
"The Ottoman Empire" PDF
Eames, Clare. "The Emperor's Cabinet." Metropolitan Museum of Art Bulletin, New ser., v. 17, no. 4 (December, 1958) PDF
Weinhardt, Carl J. "The Indian Taste." Metropolitan Museum of Art Bulletin, New ser., v. 16, no. 7 (March, 1958) PDF
Delacroix to Klee
By Roger Benjamin, Mounira Khemir, Ursula Prunster, Lynne Thornton, Auckland Art Gallery.
Publisher: Art Gallery of New South Wales, 1997
Orientalism in Art
By Christine Peltre
Publisher Abbeville Press; 1st edition (February 1, 2005)
Among the more remarkable crosscurrents affecting the development of European painting in the 19th and early 20th centuries was the influence of the exotic cultures of the Middle East and North Africa. Initiated by Napoleon's incursion into Egypt in 1798, European artists (both visitors and stay-at-homes) seized on this non-European world to enrich their imaginations and palettes. Peltre's (history of contemporary art, Universite des Sciences Humaines, Strasbourg, France) scintillating overview of Orientalism concentrates largely on the French response but also reaches out to an equally telling but briefer consideration of English, German, Italian, and American work. Without slighting the impact of European imperial ventures, political events, and literary influences, the author convincingly structures her historical synthesis within the broader contours and conventions of European painting. In addition, there are vivid characterizations of works by acknowledged masters like Delacroix, Ingres, and Matisse as well as due consideration of almost innumerable lesser lights like Lewis, Fromentin, and Gerome. Although the sculptural and architectural ramifications of Orientalism are neglected, the excellent text and the plethora of exquisitely reproduced but unfamiliar images are reason enough to acquire this splendid volume.