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- catalog abstract ""Until now, Orientalist art - exemplified by paintings of harems, slave markets, or bazaars - has predominantly been understood to reflect Western interpretations and to perpetuate reductive, often demeaning stereotypes of the exotic East. Orientalism's Interlocutors contests the idea that Orientalist art simply expresses the politics of Western domination and argues instead that it was often produced through cross-cultural interactions. Focusing on paintings and other representations of North African and Ottoman cultures, by both local artists and westerners, the contributors contend that the stylistic similarities between indigenous and Western Orientalist art mask profound interpretive differences, which, on examination, can reveal a visual language of resistance to colonization. The essays also demonstrate how marginalized voices and viewpoints - especially women's - within Western Orientalism decentered and destabilized colonial authority. Looking at the political significance of cross-cultural encounters refracted through the visual languages of Orientalism, the contributors engage with pressing recent debates about indigenous agency, postcolonial identity, and gendered subjectivities. The very range of artists, styles, and forms discussed in this collection broadens contemporary understandings of Orientalist art. Among the artists considered are the Algerian painters Azouaou Mammeri and Mohammed Racim; Turkish painter Osman Hamdi; British landscape painter Barbara Bodichon; and the French painter Henri Regnault. From the liminal "Third Space" created by mosques in postcolonial Britain to the ways nineteenth-century harem women negotiated their portraits by British artists, the essays in this collection force a rethinking of the Orientalist canon."--GoogleBooks.".
- catalog contributor b12670671.
- catalog contributor b12670672.
- catalog created "2002.".
- catalog date "2002".
- catalog date "2002.".
- catalog dateCopyrighted "2002.".
- catalog description ""Until now, Orientalist art - exemplified by paintings of harems, slave markets, or bazaars - has predominantly been understood to reflect Western interpretations and to perpetuate reductive, often demeaning stereotypes of the exotic East. Orientalism's Interlocutors contests the idea that Orientalist art simply expresses the politics of Western domination and argues instead that it was often produced through cross-cultural interactions. Focusing on paintings and other representations of North African and Ottoman cultures, by both local artists and westerners, the contributors contend that the stylistic similarities between indigenous and Western Orientalist art mask profound interpretive differences, which, on examination, can reveal a visual language of resistance to colonization. The essays also demonstrate how marginalized voices and viewpoints - especially women's - within Western Orientalism decentered and destabilized colonial authority.".
- catalog description "Includes bibliographical references (p. [205]-216) and index.".
- catalog description "Looking at the political significance of cross-cultural encounters refracted through the visual languages of Orientalism, the contributors engage with pressing recent debates about indigenous agency, postcolonial identity, and gendered subjectivities. The very range of artists, styles, and forms discussed in this collection broadens contemporary understandings of Orientalist art. Among the artists considered are the Algerian painters Azouaou Mammeri and Mohammed Racim; Turkish painter Osman Hamdi; British landscape painter Barbara Bodichon; and the French painter Henri Regnault. From the liminal "Third Space" created by mosques in postcolonial Britain to the ways nineteenth-century harem women negotiated their portraits by British artists, the essays in this collection force a rethinking of the Orientalist canon."--GoogleBooks.".
- catalog description "Orientalism's interlocutors -- Speaking back to orientalist discourse -- Colonial tutelage to nationalist affirmation: Mammeri and Racim, painters of the Maghreb -- The mosque and the metropolis -- Earth into world, land into landscape: the "worlding" of Algeria in nineteenth-century British feminism -- Henri Regnault's wartime orientalism -- Contested terrains: women orientalists and the colonial harem.".
- catalog extent "ix, 227 p., [4] p. of plates :".
- catalog identifier "0822328593 (alk. paper)".
- catalog identifier "0822328747 (ppk. : alk. paper)".
- catalog isPartOf "Objects/histories".
- catalog issued "2002".
- catalog issued "2002.".
- catalog language "eng".
- catalog publisher "Durham : Duke University Press,".
- catalog spatial "Europe.".
- catalog subject "704.9/4995 21".
- catalog subject "N8217.E88 O685 2002".
- catalog subject "Orientalism Social aspects.".
- catalog subject "Orientalism in art Europe.".
- catalog subject "Orientalism in art.".
- catalog tableOfContents "Orientalism's interlocutors -- Speaking back to orientalist discourse -- Colonial tutelage to nationalist affirmation: Mammeri and Racim, painters of the Maghreb -- The mosque and the metropolis -- Earth into world, land into landscape: the "worlding" of Algeria in nineteenth-century British feminism -- Henri Regnault's wartime orientalism -- Contested terrains: women orientalists and the colonial harem.".
- catalog title "Orientalism's interlocutors : painting, architecture, photography / edited by Jill Beaulieu and Mary Roberts.".
- catalog type "text".