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Gazelle - Thomson's Gazelle Drawing Painting

One of many rare and wonderful images brought forward in time. I hope they bring you pleasure each and every time you look at them. Features Theme Medieval Costume. Title Metalwork of the Fourteenth and Fifteenth Centuries. Made in the USA. Product Type Graphic Art. Print Type Graphic Art Print. Color BrownGreenRed. Number of Items Included 1. Pieces Included. Artist Auguste Racinet.

Orientation Vertical. Size Oversized 41 and above.

insert Adapter Chamber to Chamber Hornet 22 Hornet Reducer - - leondumoulin.nl

Shape Rectangle. Distressed No. Country of Origin United States. Purposeful Distressing Type No Distressing.

dorcas gazelle on sand, Art Print

Holiday Occasion No Holiday. Hand Painted Art. Overall Width Side to Side Overall Depth Front to Back 1. Overall Product Weight 7. Assembly Warranty Manufacturer provides days warranty. This continuity in trade hides a difference between 1 th and 1 th century Mamluk products.

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An exhibition of Orientalist paintings examines Western attempts to depict the lives of 19th-century Muslim women. Of all the exotic subjects sought by the European painter-travelers now known as Orientalists, none was as seductive—or as elusive—as the harem. The word, imported from Arabic via Turkish, literally means a forbidden zone.

Figuratively, it signifies that portion of an Islamic household reserved for women and children, off-limits to any men who are not close relatives.

Rain in London. City landscape. Brush Oil Painting, Palette Knife. Painter Vladimir Volegov

An upper-class Ottoman home, for example, was divided into two parts—the haremlik inner, private space and the selamlik outer, public space. Only the latter would have been accessible to foreign men, so we can say with certainty that not one of the harem paintings that form such an important part of the canon of Orientalism—a subset of 19th-century Academic realism—could possibly have been done from life. Nevertheless, at least some of these artists aspired to accuracy and based their paintings on contemporary eyewitness accounts of harem life, supplemented by their own observations of the material culture of the Muslim world.

Others unabashedly dealt in exploitative fantasy, creating lurid scenes replete with over-the-top luxury, nudity, belly dancing, eunuchs, and suggestions of sexual servitude.

Dorcas gazelle (Gazella dorcas) on sand - Art Print

This duality in the representation of harems reflects the tension in Orientalist art in general between two motivations, one reportorial and even ethnographic, the other sensationalistic and myth-mongering. For both categories of artists though sometimes both motivations were at work in one artist, and even in one painting , it was precisely the mystery and strangeness of the harem, from a Western point of view, that made it such an attractive subject. Considering the importance of the harem in art, one would imagine that a dedicated exhibition would have been mounted long ago, but in fact the first one ever just opened late last month, at the Henry Morrison Flagler Museum in Palm Beach, Fla.

Flagler, an American oil, railroad, and hotel tycoon, shared the taste of his fellow Gilded Age collectors for Orientalism and owned at least six harem paintings, all of which are in the current show.


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She also wanted to shed some light on the gap between harem myth and harem reality. A fair-skinned, dark-haired beauty reclines on a divan amid marble columns and archways, whiling away the time with embroidery as the turbaned monarch approaches, treading a red carpet unrolled just for him. In the flower-strewn foreground, an incense burner dispenses its aromatic fumes, while a leopard skin, with head attached, draws the eye to the center of the picture. The woman, while she indulges in pleasures of her own, clearly exists for the pleasure of the Sultan.

The Turkish original, odalik, literally means something to do with a room oda ; by extension, a chambermaid.