Type: Chapter; Author(s): Linda Nochlin; Page start: 33; Page end: Is part of Book. Title: The politics of vision: essays on nineteenth-century art and society. LINDA. NOCHLIN. THE. IMAGINARY. ORIENT. What is more European, after all, than to be corrupted by the Orient? Richard Howard WHAT IS THE RATIONALE. 14 Feb Linda Nochlin’s examination of nineteenth-century Oriental paintings reinforces Edward Said’s theory in describing the particular power.

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It seems like she’s asking questions and then answering them and providing rationale as she goes, rather than presenting a more formal thesis and then validating it. Nochlin strongly asserts that Gerome’s paintings are not accurate reflections of Orientalist reality, but arranged, subjective constructions of meanings.


Welcome to Reddit, the front page of the internet. And Allah is Hearing, Knowing. Is the writing in any sense legible?

But in the essay, she sets up her thesis in the first page. Nochlin lets fly one baseless charge after another. Morocco and Tunisia were under French rule for a brief period, roughly forty years each, only in the twentieth century. Indeed, the defining nochlun of the painting is mystery, and imagibary is created by a specific pictorial device. Many krient, not knowing Oriental languages or scripts, invented pseudo-scripts for decorative purposes and used them on textiles, gilt halos, and frames for religious images: The answer is yes.


Nochlin, using this painting as an example, outlines “absences” in depictions of the Orient: The thought that the artist may indeed be an individual, with his own personal, aesthetic reasons for being in a foreign land, that he possesses freewill, that the artist may actually love the country and its people that he paints, never seems to have occurred to her.

Nochlin’s article can hardly be called art criticism. Orientalism is a common term in literary and other academic writing.

Having a little difficulty with Linda Nochlin’s “The Imaginary Orient.” : ArtHistory

A Critical ReaderOxford: But, she says, of course, even photography can be manipulated by composition and subject to promote a certain bias or ideology. As such, their strategies of concealment lend themselves admirably to the critical methodologies, the deconstructive techniques now employed by the best film historians, or by sociologists of advertising imagery, or by analysts of visual propaganda, rather than those of mainstream art history.

There are never any Europeans in “picturesque” views of nohlin Orient like these. The French interlude lasted barely three years. There is no compulsion in religion—the right way is indeed clearly distinct from error.


Many Orientalist painters tackled historical subjects, especially the presence of the French in the Near East and North Africa, though Nochlin insists that the French are always “absent. No Western tourists disfigure their photos.

Nochlin claims that the watchers in the painting are “huddled” against a wall, but huddled implies discomfort.

As the author addresses later in the article, Orientalist paintings rarely depicted violence of the West on the eastern cultures, but rather primarily portrayed representations of violence of Orientals to each other.


Most of his paintings are meticulously finished with labor that only love could sustain. Orientalism is a term that is used by art historians, literary and cultural studies scholars for the imitation or depiction of aspects in Middle Eastern, South Asian, and East Asian cultures Eastern cultures. And, it is well-attested that tiles in Turkish mosques often fell off simply because of the poor quality of the glue used.

Raghu Rai’s book of photographs of the Taj Mahal is pure Orientalism, using this term in a non-pejorative sense. Benkin 21 Richard L. Although guillotining was still a public spectacle under the Second Empire and through the beginning of the Third Republic, it would not have been considered an appropriate artistic subject.

Revisited 1Lalla Essaydi,chromogenic print. Algeria was under French rule for years, but as we shall see, those artists who went there developed an affection for and commitment to it, artists such as Eugene Fromentin.

What types of connections can be made between the portrayal of women and oriental society within these images? Polity Press,pp.

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