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Intimate Outsiders - The Harem in Ottoman and Orientalist Art and Travel Literature (Paperback)
Loot Price: R578
Discovery Miles 5 780
You Save: R44
(7%)
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Intimate Outsiders - The Harem in Ottoman and Orientalist Art and Travel Literature (Paperback)
Series: Objects/Histories
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List price R622
Loot Price R578
Discovery Miles 5 780
You Save R44 (7%)
Expected to ship within 12 - 17 working days
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Until now, the notion of a cross-cultural dialogue has not figured
in the analysis of harem paintings, largely because the Western
fantasy of the harem has been seen as the archetype for Western
appropriation of the Orient. In Intimate Outsiders, the art
historian Mary Roberts brings to light a body of harem imagery that
was created through a dynamic process of cultural exchange. Roberts
focuses on images produced by nineteenth-century European artists
and writers who were granted access to harems in the urban centers
of Istanbul and Cairo. As invited guests, these Europeans were
"intimate outsiders" within the women's quarters of elite Ottoman
households. At the same time, elite Ottoman women were offered
intimate access to European culture through their contact with
these foreign travelers.Roberts draws on a range of sources,
including paintings, photographs, and travelogues discovered in
archives in Britain, Turkey, Egypt, and Denmark. She rethinks the
influential harem works of the realist painter John Frederick
Lewis, a British artist living in Cairo during the 1840s, whose
works were granted an authoritative status by his British public
despite the actual limits of his insider knowledge. Unlike Lewis,
British women were able to visit Ottoman harems, and from the
mid-nineteenth century on they did so in droves. Writing about
their experiences in published travelogues, they undermined the
idea that harems were the subject only of male fantasies. The elite
Ottoman women who orchestrated these visits often challenged their
guests' misapprehensions about harem life, and a number of them
exercised power as patrons, commissioning portraits from European
artists. Their roles as art patrons defy the Western idea of the
harem woman as passive odalisque.
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