This article asserts how Orientalism was understood and constructed through western values and expectations, which define Islamic society as being lazy, sexual, and cruel. Nochlin argues that the picturesque style and realism employed throughout Oriental art were used a tools to legitimize the western concept of Orientalism and the negative stereotypes associated with it. She further addresses how this unequal opposition of East and West is promoted through not only what the artists include within the works, but more importantly what the images tend to leave out. She convincingly argues how the painting captures a picturesque scene of a traditional eastern performance, of which the viewer is not invited into but rather acts as a spectator meant to gaze upon the audience. Before even examining the absences within the painting, we can see how us, as the western viewer, immediately establishes power and control over the Islamic people through labeling them as being different and therefore inferior. Nochlin goes on to describe how the absence of history throughout Oriental art largely supports the notion that these paintings were to be perceived as aesthetically appealing and timeless scenes that properly reflect the eastern world.

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Sunday, March 11, The Imaginary Orient Linda Nochlin, the author of this article, quotes Donald Rosenthal as saying "The unifying charateristic of ninteenth-century Orientalism was its attempt at documentary realism".

At a later point, Nochlin quotes Edward Said defining Orientalism: "a mode for defining the presumed cultural inferiority of the Islamic Orient.. Nochlin feels that Orient studies and criticisms are not clearcut. Like all postcolonial topics, Orientalism also contains tensions that are constantly being revised and changed. It is a a "visual document of ninteenth-century colonialist ideology". However, Nochlin points out that both the boy and his audience are the subjects of this painting.

We also can not identify with their placement within the frame- they sit opposite us, instead of amongst us. Nochlin, using this painting as an example, outlines "absences" in depictions of the Orient: 1- History- Time stands still. Changes to the Western world are alien to the Orient. It lives in a constant state of stillness, a still picture complete with its people, rituals and traditions.

The people in the painting know nothing of the historical and political processes that were taking place in the Near East. There is an absence of temporal change and of history. Thus Orientalist paintings show a world of timeless rituals and customs untouched by the West. They are observances remapped onto the canvas.

They try to convice the viewer that they are scientific reflections of the Oriental reality. There are no clues to the artwork as a literal flat surface. In other words, there is no human creativity.

Gerome does this by making his paintings very real: by concealing the evidence of his brush and by emphasising authenticating details, often unnecessary ones. Posted by.


Linda Nochlin

Her critical attention was drawn to investigating the ways in which gender affects the creation and apprehension of art, as evidenced by her essay "Issues of Gender in Cassatt and Eakins". She considered the very nature of art along with the reasons why the notion of artistic genius has been reserved for male geniuses such as Michelangelo. Nochlin argued that significant societal barriers have prevented women from pursuing art, including restrictions on educating women in art academies and "the entire romantic, elitist, individual-glorifying, and monograph-producing substructure upon which the profession of art history is based ". In the conference and in the book, art historians addressed the innovative work of such figures as Louise Bourgeois , Eva Hesse , Francesca Woodman , Carrie Mae Weems and Mona Hatoum in the light of the legacies of thirty years of feminist art history. In her essay "Starting from Scratch: The Beginnings of Feminist Art History," Nochlin reflected on her awakening as a feminist and its impact on her scholarship and teaching: "In , three major events occurred in my life: I had a baby, I became a feminist, and I organized the first class in Women and Art at Vassar College. First, in she married Philip H.



Jur How can one go from one scene depicting a snake charmer to the claim that this represents the entire East? One cannot have it both ways. Indeed, if we consider all the other representations of North African subjects in the Salon of — and there were quite a few — merely as examples of Orientalism, we inevitably miss their significance as political documents at a time of particularly active military intervention in North Africa. And the insistent, nohclin charged mystery at the center of this painting signifies a more general one: But neither does Nochlin. He gives a orientt, not a prurient account, of the well-known institute of temple prostitution, and nochlib sympathetic account of the manners and customs of Orientals. For instance, the degree of realism or lack of it in individual Orientalist images can hardly be linda nochlin the imaginary orient without some attempt to clarify whose reality we are talking about.

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