A journey through Orientalism.

In chronological order of when the paintings were created my board shows the similarities and contrasts between orientalist paintings. From British, French, Turkish orientalist artworks and showing the opposition between painters who painted within the middle east and those who painted from outside.
20 Pinler10 Takipçi
Osmand Hamdi Bey - Mirhap, 1901. In contrast to the last image here the women is not as covered up but we see her as a dominance in this particular art work.

Osmand Hamdi Bey - Mirhap, 1901. In contrast to the last image here the women is not as covered up but we see her as a dominance in this particular art work.

Osmand Hamdi Bey, Ladies, late 1800's. again we see a contrast in the depiction of women, here they are portrayed fully covered up in contrast to those of Delacroixetc.

Osmand Hamdi Bey, Ladies, late 1800's. again we see a contrast in the depiction of women, here they are portrayed fully covered up in contrast to those of Delacroixetc.

Osmand Hadi Bey, Silah Tatiri, 1908. Bey produced his orientalist artworks in turkey the lack of such vivid colours as seen in the outside artists shows contrast in the reality and ideal.

Osmand Hadi Bey, Silah Tatiri, 1908. Bey produced his orientalist artworks in turkey the lack of such vivid colours as seen in the outside artists shows contrast in the reality and ideal.

Rudolf Ernst, The Perfume Maker, 1854-1932. We see here women and child at work, quite often the case the case in an orientalist painting. Again the rich colours and typical clothing is present.

Rudolf Ernst, The Perfume Maker, 1854-1932. We see here women and child at work, quite often the case the case in an orientalist painting. Again the rich colours and typical clothing is present.

David Roberts, A Slave Market in Ciaro, 1848. This final painting shows slaves in Ciaro, if compared to other orientalists painting it becomes obvious that they are slaves through their clothing as it contrasts to the vibrant jeweled robes worn in the other paintings allowing us to wonder if as Roberts had visited the Middle East was this actually the Clothing worn as he does not just show the ideal.

David Roberts, A Slave Market in Ciaro, 1848. This final painting shows slaves in Ciaro, if compared to other orientalists painting it becomes obvious that they are slaves through their clothing as it contrasts to the vibrant jeweled robes worn in the other paintings allowing us to wonder if as Roberts had visited the Middle East was this actually the Clothing worn as he does not just show the ideal.

Rudolf Ernst - The Sheikhs Favorite, 1854-1932. Ernst was a French orientalist, usually painting the typical orientalist motifs mainly from photographs and also on his memories of travelling through the Middle East.

Rudolf Ernst - The Sheikhs Favorite, 1854-1932. Ernst was a French orientalist, usually painting the typical orientalist motifs mainly from photographs and also on his memories of travelling through the Middle East.

Delacroix, Death of Sardanapolus, 1827-8. This art work hold many of the aspects seen in orientalist art works such as the visual features; clothing, jewels and the erotic presentation of the characters.

Delacroix, Death of Sardanapolus, 1827-8. This art work hold many of the aspects seen in orientalist art works such as the visual features; clothing, jewels and the erotic presentation of the characters.

Rudolf Ernst, Travelling musicians playing for the Sultan, 1854-1932.

Rudolf Ernst, Travelling musicians playing for the Sultan, 1854-1932.

Frank Dicksee, Leila, 1892. Dicksee was an English painter, having never traveled to the Middle East we here see how he paints from the stereotypical ideal. Using the vivid red colours and presenting the woman with jewels etc.

Frank Dicksee, Leila, 1892. Dicksee was an English painter, having never traveled to the Middle East we here see how he paints from the stereotypical ideal. Using the vivid red colours and presenting the woman with jewels etc.

Jean-Leon Gerome, The snake charmer, 1879. This painting creates a sense of mystery as we see a young child nude infront of a huddle of people, for the contemporary audience it is very unusual and allows us to think about the name in significance to our view and wonder how the young boy is being treated in this time.

Jean-Leon Gerome, The snake charmer, 1879. This painting creates a sense of mystery as we see a young child nude infront of a huddle of people, for the contemporary audience it is very unusual and allows us to think about the name in significance to our view and wonder how the young boy is being treated in this time.


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