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.
This innovative volume will appeal to those interested in art
history, theories of gender, and postcolonial studies.
"Contributors." Jill Beaulieu, Roger Benjamin, Zeynep celik,
Deborah Cherry, Hollis Clayson, Mark Crinson, Mary Roberts
General
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