Orientalist Aesthetics
Art, Colonialism, and French North Africa, 1880-1930
Seiten
2003
University of California Press (Verlag)
978-0-520-22217-5 (ISBN)
University of California Press (Verlag)
978-0-520-22217-5 (ISBN)
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Illustrated with exotic images ranging from Renoir's forgotten Algerian oeuvre to the abstract vision of Matisse's Morocco and beyond, this book provides a history of Orientalist art during the period of high modernism. Roger Benjamin draws on unfamiliar paintings, posters and more.
Lavishly illustrated with exotic images ranging from Renoir's forgotten Algerian oeuvre to the abstract vision of Matisse's Morocco and beyond, this book is the first history of Orientalist art during the period of high modernism. Roger Benjamin, drawing on a decade of research in untapped archives, introduces many unfamiliar paintings, posters, miniatures, and panoramas and discovers an art movement closely bound to French colonial expansion. Orientalist Aesthetics approaches the visual culture of exoticism by ranging across the decorative arts, colonial museums, traveling scholarships, and art criticism in the Salons of Paris and Algiers. Benjamin's rediscovery of the important Society of French Orientalist Painters provides a critical context for understanding a lush body of work, including that of indigenous Algerian artists never before discussed in English. The painter-critic Eugene Fromentin tackled the unfamiliar atmospheric conditions of the desert, Etienne Dinet sought a more truthful mode of ethnographic painting by converting to Islam, and Mohammed Racim melded the Persian miniature with Western perspective.
Benjamin considers armchair Orientalists concocting dreams from studio bric-a-brac, naturalists who spent years living in the oases of the Sahara, and Fauve and Cubist travelers who transposed the discoveries of the Parisian Salons to create decors of indigenous figures and tropical plants. The network that linked these artists with writers and museum curators was influenced by a complex web of tourism, rapid travel across the Mediterranean, and the march of modernity into a colonized culture. Orientalist Aesthetics shows how colonial policy affected aesthetics, how Europeans visualized cultural difference, and how indigenous artists in turn manipulated Western visual languages.
Lavishly illustrated with exotic images ranging from Renoir's forgotten Algerian oeuvre to the abstract vision of Matisse's Morocco and beyond, this book is the first history of Orientalist art during the period of high modernism. Roger Benjamin, drawing on a decade of research in untapped archives, introduces many unfamiliar paintings, posters, miniatures, and panoramas and discovers an art movement closely bound to French colonial expansion. Orientalist Aesthetics approaches the visual culture of exoticism by ranging across the decorative arts, colonial museums, traveling scholarships, and art criticism in the Salons of Paris and Algiers. Benjamin's rediscovery of the important Society of French Orientalist Painters provides a critical context for understanding a lush body of work, including that of indigenous Algerian artists never before discussed in English. The painter-critic Eugene Fromentin tackled the unfamiliar atmospheric conditions of the desert, Etienne Dinet sought a more truthful mode of ethnographic painting by converting to Islam, and Mohammed Racim melded the Persian miniature with Western perspective.
Benjamin considers armchair Orientalists concocting dreams from studio bric-a-brac, naturalists who spent years living in the oases of the Sahara, and Fauve and Cubist travelers who transposed the discoveries of the Parisian Salons to create decors of indigenous figures and tropical plants. The network that linked these artists with writers and museum curators was influenced by a complex web of tourism, rapid travel across the Mediterranean, and the march of modernity into a colonized culture. Orientalist Aesthetics shows how colonial policy affected aesthetics, how Europeans visualized cultural difference, and how indigenous artists in turn manipulated Western visual languages.
Roger Benjamin has been appointed Power Professor of Art History and Visual Culture and Director of the Power Institute at the University of Sydney. He is author of Orientalism: Delacroix to Klee (1997), Matisse's "Notes of a Painter": Criticism, Theory, and Context (1987), the forthcoming title, Renoir and Algeria, and winner of the Arthur Kingsley Porter Prize of the CAA for his article "The Decorative Landscape, Fauvism, and the Arabesque of Observation" (1993).
| Erscheint lt. Verlag | 3.2.2003 |
|---|---|
| Zusatzinfo | 16 color illustrations, 123 b-w halftones, 1 map |
| Verlagsort | Berkerley |
| Sprache | englisch |
| Maße | 216 x 279 mm |
| Gewicht | 1406 g |
| Themenwelt | Kunst / Musik / Theater ► Kunstgeschichte / Kunststile |
| Kunst / Musik / Theater ► Malerei / Plastik | |
| ISBN-10 | 0-520-22217-2 / 0520222172 |
| ISBN-13 | 978-0-520-22217-5 / 9780520222175 |
| Zustand | Neuware |
| Informationen gemäß Produktsicherheitsverordnung (GPSR) | |
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