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Gender & Orientalism

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Kalie Marsicano

on 25 February 2014

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Transcript of Gender & Orientalism

Artistic Identities
Orientalists & Realists
Two Harems
divided by gender
unified by Culture
French Orientalism: Gender and the Harem
French Orientalism
Two Artists: Two Harems
Putting it all Together
Orientalism: Then & Now
The Harem
Browne & Gerome
Henriette Browne
Jean-Leon Gerome
Constantinople 1853
Life-like quality
Gerome's Harem
A Side-by-Side Comparison
Divided by Gender
Artists portray two "realities"
sensuality vs. domestication
Browne- Insider access
Gerome- Picks & Chooses
Parting Thoughts
Kalie Marsicano
Professor Kangas
Jewish Studies 7

"My argument is that history is made by men and women, just as it can also be unmade and rewritten, always with various silence and elisions, always with shapes imposed and disfigurements tolerated."
Edward Said, Author of "Orientalism," 1978
The Oriental Woman
H-r-m= forbidden or taboo
Access Denied
Art & femininity
Women's roles in society
Born Sophie Bouteiller in Paris, 1829
Widowed mother
Nuns and covenant scenes
Critical reception
Henriette Browne, "The Sisters of Charity," 1859
Constantinople in 1860
Cadline greets geusts
Pointed Arches, Seating
Clothing & color Scheme
Henriette Browne, "A Visit," 1860
Hammam- Ritual Cleansing
First of 20
Contrasts- Colors & sexuality
Moorish Bath
Jean-Leon Gerome, "Moorish Bath," 1870
Explicit juxtaposition to
A Visit
Contrasts and nudity
Entices the viewer
Pool in a Harem
Jean-Leon Gerome, "Pool in a Harem," 1876
United by Orientalism
The harem mystery
No artist participation
No identification with subjects
East-West Divide
Where are they now?
Gerome- Nochlin 1989
Browne- Lewis 1996, Roberts 2007, Kuehn 2011
Studying Orientalism today
Full transcript