Matisse cannot be extracted from the flow of history; he cannot be separated from Orientalism because he was a modernist. The precise fact that he was able to travel there, be an intrepid traveller, and look at a Moroccan vase and use that detail to then take away and paint means he is an Orientalist, he was given the opportunity of a colonialist. And in asking to unveil a woman who is posing for him is just as disrespectful as an orientalist artist painting women inside a harem. Both Gerome and Matisse are cultural translators or ventriloquists who ‘make the Orient’ speak, what makes this notion difficult is there position is outside the orient, more specifically the Colonizers of the Orient regions. However we can look at Matisse and his …show more content…
Whilst he followed the path of an orientalist in every form, his actually artworks were much less orientalist than others. He was not painting in a voyeuristic, colonialist, precise way but was disrupting the west view of the east through his abstraction – this puts value on his modernist orientalist as not being as orientalist as that of Gerome. The ‘orient’ was a strange location to the Western European of the nineteenth century, a place few had journey to. It was to them, a location with all the allure of myth – a distant, exotic and bizarre land where the ‘Other’ lived and romanticises thrived. Previously inaccessible to the European voyager, the ‘orient’, explicitly, was the sun-drenched countries of the Middle East and North Africa. It is recognised today that the orient was engaging the minds of Western peoples long prior to the nineteenth century. Renaissance and Baroque works by artists like Bellini, Rembrandt and Veronese often illustrated costume belonging to the culture of the Middle East. Gentile Bellini’s painting of the Ottoman sultan Mehmed II (1480) is such an instance. However, until the nineteenth century, the contact Western Europeans had with the East was negligible, only through trade and sporadic military operations. It wasn't until …show more content…
He stated, "Orientalism is more particularly valuable as a sign of European Atlantic power over the Orient than it is a veridic (truthful) discourse about the Orient.” The nexus of authority with knowledge empowered the West to generalise and misrepresent the orient, consequently subjugating and controlling it. By exaggerating and distorting the difference between the familiar occident (West) and the alien orient (East), they are constructing the East as the extremely inferior, backward and foreign counterpart of the West, in need of Western ‘rescue’. It is therefore this colonialist podium, which the Orientalist artist stands on that, in part, generates Roger Benjamin’s notion of the ‘Oriental mirage’. The concept that a “travelling artists always has an unstable view of its subjects” is concrete, imitative painting of any kind is an estimation. However the Imperialist and Colonialist credentials of the orientalist artists inevitably skews this image further. The mirage becomes additionally distorted as they are faced with the obstacles of cultural misunderstanding and ethnocentrism. Jean-Léon Gérôme and Henri Matisse alike both ‘suffered’ from this colonialist cultural curtain, which was drawn across and
...ings like Pont-Aven, Tahiti, or Africa. The lifestyle and artwork of primitive-like cultures painted in the styles of Gauguin and Nolde have unfortunately now also become ‘gift shop’ tourist treasures. Even though Gauguin’s and Nolde’s work still holds popularity in legitimate art circles, the reality is that western cultures have pretty much absorbed virtually every corner of the earth. Their portrayal of primitive cultures has essentially become advertisements presenting vacation spots for westerners.
Orientalism was used back in the 19th century to imitate or depict others nations and their cultures. The Europeans would take impressive feats of architecture or objects from other nations to create their own “better” version. They used orientalism to show how other nations were barbaric and that they were vastly more intelligent. These tactics can be seen in many paintings and buildings where they tried to improve upon other nations works. In some of theses paintings you can see upperclassmen wearing lavish clothes or in other cases black people serving the europeans and being underneath them. Other orientalist artists will take ordinary objects and make them more european by adding expansive material and artwork. Additionally, artists will
Orientalism, which became famous as a term after Edward Said’s book written in 1978, explains a power relation between the Orient and the Occident inspiring from the Foucault’s The Archeology of Knowledge and
The key place to begin with the discussion of conceptions of ‘us’ and ‘them’, and how they have been used in the process of self-definition, is Edward Said’s groundbreaking work Orientalism. In t...
“Passive, accommodating and unemotional”. These are just some of the many stereotypical terms used to describe “The Orient”, or “The Other”. As Edward Said claims in his fairly objective view on Orientalism, there is a common misconception that exists in the minds of Westerners in which the Eastern Orients are childlike, irrational and ignorant, while the Westerners are more civilized and educated, which makes it their duty to shelter and educate other races. This superiority complex, as well as the gendered representation and ratialization of Asian and Western identities, is revealed in John Luther Long’s captivating play Madame Butterfly. However, this dichotomy between the East and West is put into question in Henry Hwang’s M. Butterfly, which also depicts the negative stereotypes and ideologies associated with the Asian culture, while also emphasizing how gender roles of men and women can become reversed. David Henry Hwang’s utilization of literary devices in the forms of foils and irony is used as a means to successfully critique John Luther Long’s Madame Butterfly, as well as to affirm the dominant belief system during the 1960’s to 1980’s, which encompasses the intersectionality of race, class and, particularly, gender.
During the Age of Exploration, early orientalism started to take shape in fashion. Since, the East has remained an inspiration and influence to Western culture. In spite of this, oriental dress does not symbolise cultural flexibility and acceptance, but rather imperialism. It is a metaphor whereby the West establishes a dominant role over the East by studying and reproducing oriental culture. As Edward W. Said put it, “Imperialism consolidated the mixture of cultures and identities on a global scale. But its worst and most paradoxical gift was to allow people to believe that they were only, mainly exclusively…Oriental” . Moreover, this essay will explore the tumultuous relationship between the East and the West, as well as discuss the impact and progress of Orientalism in fashion.
His styles and techniques were so particular and well-liked, that he succeeded regardless of the trends going on around him; The Dance (1910) being the perfect example, for it was loved and hated by many. By the 1920's, he was increasingly noticed as an upholder of the classical tradition in French painting. He was appreciated for bringing that traditional style painting into the modern age and not allowing it to die out like many other artistic traditions had.11 Even though he had been firmly criticized for how he painted, he was still respected for his eclectic style of line and brushwork. Matisse dreamt of, "an art of balance, of purity and serenity, devoid of troubling subject matter" (MA, 38).12 He did this by painting things with simple detail, and also with a light, airy, feel. He wanted to convey the message of classical art, as well as very modern styles of art. As he was influenced by many, he, later on, influenced other great modern artists. He carefully prepared his works but chose colors spontaneously and freely, this is what he called instinct. Like his art, Matisse's career is tightly consolidated. In the context of his development as an artist, his illustrations of the nude females in The Dance (1910), have quite a different significance than judgmental commentators give
One of the leaders of Fauvism movement was Henri Matisse and I am going to describe one of his most famous pictures, which is called “Woman with a hat”.
Fujita Tsuguharu was a pivotal character in the promotion and innovation of Japan as a country. As a diverse and popular individual in Paris, he gained fame and wealth while he developed his painterly style in the 1920s. He sought to reinvent and the “European nude” to sate the hunger of both the narcissistic European cultures and to uplift the Japanese style of painting. This was to evolve Japan’s culture and help to attain a national identity. The Second World War, however, brought about a change that attributed to a diversion in Fujita’s style in paintings. A transformation into a dark, graphic, realism was the focus, yet there was always that lingering attempt to solidify Japan’s identity. It is certainly reflective of the sacrifice of one for the benefit of the whole.
I agree with Duncan’s claim that the female nudes in the paintings discussed in her article convey women as objects that are viewed only by their flesh which in turn “denies their humanity”. This claim is credible based on Picasso’s Les Demoiselles d’Avignon because the poses of the women, especially the one on the bottom right creates more sexually availability as they open up their bodies, as if they are offering themselves as sacrifice to the male sexual appetite. Two of the women are depicted wearing masks, in an attempt to disguise their identity. This lack of identity, also portrayed in Kees Van Dongen’s Reclining Nude, due to the absence of their face, consequently grants access to the male viewer to objectify these women more easily,
In the early 1900's, Henri Matisse pioneered the Fauvism movement. Fauvism went against the norms of its time and brought about a new way for artists to express themselves. It was the first revolution of its kind during the 20th century. Fauvism discarded the idea of using colors as symbolism and instead used colors in a seemingly careless way. The term Fauvism came from a French art critic who called the artists at the Salon d’Automne in Paris fauves ("wild beasts"). While fauvism was short lived it greatly impacted the direction of modern art.
The success of Liberty's about 1890 depended largely on the Eastern silks in delicate shades and the other Chinese imports. The history of the part played by china and Japan in European art since 1860 has not yet been written. It would be very interesting to show the influence of the East appearing here in loose technique of painting, there in the greatest finesse of line and contours, there again in clear, soft, and pure colour, and yet other works in flat pattern effects. Owing to the unique synthesis of ornamental and `Impressionist' qualities in Eastern art, both Impressionist and, at the opposite pole, the originators of Art Nouveau, could use what Japanese woodcuts and Chinese pottery had to teach them. P 150
Brantlinger, Patrick. Heart of Darkness: Anti-Imperialism, Racism, or Impressionism?. MacMillan Press Limited, University of Miami: 1996
Edward W Said, the renowned author of Orientalism (1978) now expands his scope, which he admits was limited to the Middle East, in his book “Culture and Imperialism. In the introduction of the book, much like the rest of the book, he talks about colonialism and imperial in context of western literature written around 19th and 20th century. Showing the effects of imperialism and colonization, on the colonizer as well as the colonized, interpreted through the eyes of writers such as Charles Dickens in Great Expectations-- and Joseph Conrad in Nostromo(1904). One puts light on the United Kingdom and its relation with it colony of Australia, a classic example of colonialism. On the other hand Conrad in ‘Nostromo’ reflects on imperialism with the example of Central America which, while being an independent republic, was being dominated by outside forces because of economic and political interests. By presenting these two examples Said covers most of what the topic “culture and imperialism” is to him and his point of view, while including two of the biggest examples, in terms of nations and there influence on other regions, on the subject. Although the examples may be seen as few on a subject so vast, it in affect is enough for Edward to prove that much of western literature has taken its influence from the effects of decolonization as well as imperialism, also the resistance to both.
The orient has been fundamental in defining the West as its contrasting image, idea, personality, experience. The West comes to know itself by proclaiming via orientalism everything it believes it is not. European culture gained its strength and identity by setting itself off against the orient as a sort of surrogate and even underground self (Said 3).