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ORIENTALISM

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Author Topic: ORIENTALISM  (Read 10918 times)
Bianca
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« Reply #15 on: May 30, 2009, 12:10:38 pm »




                                     

                                      As his 1866

                                      “The Afterglow”

                                      shows, English Pre-Raphaelite

                                      William Holman Hunt

                                      was known for strong colors and symbolism.
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« Reply #16 on: May 30, 2009, 12:13:20 pm »









with accuracy, ever-important matters of provenance—who has owned the painting previously, how was it obtained, how much has been paid for it—are now supplemented by a condition report—repairs to the canvas, relining and restoration—in determining the value of an Orientalist painting in today’s market. Interestingly, women have become very important buyers in their own right in the last decade. In much of the Middle East, women tend to be the leading decision-makers in matters relating to the home, and they have been instrumental in buying Orientalist art. “Oils for the majlis [the room where guests are received], something more decorative upstairs,” says Brian Mac-Dermott. He recently advised an audience of 50 women on collecting Orientalism at the Abu Dhabi Cultural Foundation, he says, and he lectures university and A-level students in Dubai, including sensible advice for these future collectors.

“I emphasize very much the dangers of forgeries. But what really encourages me is that most collectors, particularly in the Arab world, have bought for the right reason—because they like the painting, as opposed to viewing it as an investment. If it happens, as it has happened, that they’ve made a lot of money when they’ve sold it, they’re even more pleased. But very few of these paintings come back on the market. People who’ve bought them hold onto them.”

Another market shift is being driven by the burgeoning museum culture of the Gulf. Each of the Gulf countries has been gradually building national collections, and several of them contain important holdings of Orientalism, the only genre that depicts customs and traditions long forgotten or disappeared. One such new museum is the huge Sharjah Art Museum, hosting the last leg of “Lure of the East” tour. In Dubai, Sheikh Maktoum has set up his own museum, and the Qataris have also been collecting assiduously for their new museum. Ali Can Ertug adds that Turkish museums have also been buying Orientalism extensively. Alexandra McMorrow comments that “cultural awareness now in the Middle East is feeding into the boom in museum investment.”

Often obscured by its own veils of stereotype and history, Orientalism remains a cultural legacy that inspired not only undisputed technical excellence but also complex understanding of the relationships among western and Arab worlds. For the largely Arab clientele who now find it so attractive, the visual poetry and unabashed nostalgia of Orientalist paintings are often pleasing respites in a rapidly changing world—much as their creators originally intended them to be.
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« Reply #17 on: May 30, 2009, 12:17:11 pm »





                         

                           “An Arab of the Desert of Sinai,”

                           by John Frederick Lewis.
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« Reply #18 on: May 30, 2009, 12:25:01 pm »






                                                       
                         “The Jewellery Box,”

                         by Rudolf Ernst

                         1854-1932)

 
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« Reply #19 on: May 30, 2009, 12:28:18 pm »





 
               






Writer, photographer and editor Juliet Highet is a specialist in Middle Eastern heritage and contemporary arts. Her book Frankincense: Oman’s Gift to the World was recently published by Prestel. A second book, Design Oman, is in preparation. She lives in Surrey.

 

This article appeared on pages 16-23 of the March/April 2009 print edition of Saudi Aramco World.

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« Reply #20 on: May 30, 2009, 12:31:54 pm »









THE WIDTH OF OUR PAGE WOULD NOT ACCOMODATE THE FULL VIEW OF THE HORIZONTAL PICTURES.



TO SEE IT, PLEASE GO TO:

http://www.saudiaramcoworld.com/issue/200902/behind.orientalism.s.veil.htm
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« Reply #21 on: May 30, 2009, 12:48:18 pm »



Rudolph Ernst,

entitled

“A Hard Bargain”. 
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« Reply #22 on: May 30, 2009, 12:51:59 pm »



"The Flight Out Of Egypt"

Richard Dadd
1849 - 50
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« Reply #23 on: May 30, 2009, 01:02:00 pm »



Author unknown

(pmail me if you know - b)
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« Reply #24 on: May 30, 2009, 01:08:30 pm »




               

                The Oriental
 
                Friedrich Ritter von Amerling
                (1803-1887)

 
   
   
   


   
   
   
   
   
   
   
   
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« Reply #25 on: May 30, 2009, 01:14:30 pm »



John Frederick Lewis,

"Greeting in the Desert"

1855
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« Reply #26 on: May 30, 2009, 01:21:30 pm »



"The Kibab Shop"

John Frederick Lewis
1858
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« Reply #27 on: May 30, 2009, 01:27:11 pm »



"An Egyptian Feast"

Edwing Long
1883
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Bianca
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« Reply #28 on: June 02, 2009, 04:43:30 pm »



The Reception of the Ambassadorsd in Damascus

Anonymous Venitian artist
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Bianca
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« Reply #29 on: June 02, 2009, 04:45:19 pm »



Women of Algiers

Eugčne Delacroix
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