ARH2002 Quiz 4

Why does Nochlin criticize Donald Rosenthal the curator of the 1982 exhibition Orientalism: The Near East in French Painting: 1800-1880? How are the paintings in this exhibition analyzed?

According to Nochlin, Rosenthal suggest that there are important questions to be raised about oriental art history but fails to address them. Rosenthal states that 19th century orientalism attempts to document realism and that orientalist paints are associated with the Eurpoean colonialist expansion. This contradicts the fact that colonialism used orientalism to justify European dominance. The exhibition paintings are analyzed as true oriental culture when in fact, many of the pieces and their influences are driven by colonialism and European perspective on the orient culture.

How does representation of the female nude and Orientalism work together?

For instance, with Gerome's scenes such as the Moorish bath, he makes sure we see his nude subject as art as well as a simple exposure. But when it is of a female nude concern is enhanced because it is an object of desire. It is difficult to prove artistic-ness and at the same time showing representational bodies.

Why was Gérôme's paintings considered by his 19th century audiences to be objective and himself described as a "scientific picture maker"? Why is this dangerous?

Gerome was consider to be a "scientific picture maker" because of the exactness of each and everyone of the details in his artwork. He was known to research every aspect of the scene in order to make it 100% authentic. However, critics would say that this eliminates the idea that what Gerome is painting is even art because it erases all reminders "of the fact that it is really a question of art."

According to Said, what is the Orient and what is Orientalism?

In Edward Said's classic book, Orientalism, argues that the Western representations of the East said more about the West than they did about the places and cultures they purported to depict. This Western way of thinking began in the 19th and 20th century during the European enlightenment and the colonization of the Arab world. It included exotic, violent, and backwards lifestyles of the Arab world. This is clearly seen in European art of the time which typically depicted exotic belly dancers or wild animals. The orient refers to the regions of the world that include the Middle East and Far East and the true aspects of humans (not the Western view) that are held within them. *double check in class*

What does Nochlin mean when she writes (on page 41) "But of course, there is Orientalism and Orientalism?" What are these two Orientalisms?

One form of Orientalism could be as an actual place to be mystified with effects of realness and to another form could be a development of the imagination, a fantasy space or screen onto which strong desires are expected.

What kind of methodology does Said use in his study? i.e. what previous scholar and conceptual framework is he using as an example?

Said is pulling from "Fuco." He looks at historical discourse. He uses semiotics to use words and text. Language used to describe things. Discourse analysis.

Where is the Orient? What does Said mean when he writes: "the Orient is not an inert fact of nature. It is not merely there, just as the Occident itself is not just there either."

The Orient refers to the Middle East and Far East, but not just as geographical representations. Said stated that "the Orient is not an inert fact of nature. It is not merely there, just as the Occident itself is not just there either." What Said means is that the Orient is not just a place or region on the Earth. Rather, Said is referring to the region and the cultural actualities that are held within. In the same way, the Occident, which refers to the West (United States, France, England) is not just the west as place that stands alone geographically. It also includes western culture and thinking. This serves as an explanation for the ways in which the West (Occident) views the East (Orient). *double check in class*

How does the gaze work in Orientalist painting? Who are we asked to identify with? How is this different from contemporary, late 19th century Impressionist painting of urban Paris?

The gaze works in oriental paintings because the colonized Europeans of the 19th century were the subjects, gazing upon the Orientals as the objects. We are thus asked to identify with the European's perspective of Oriental culture rather than identifying with orient culture as the subject. This is different than 19th century impressionist painting of urban Paris because in these artworks, Europeans are the subjects rather than the objects being perceived by another culture. Therefore, the viewer identifies with European perspective rather than the viewpoint of another culture observing European culture.

What is absent in Orientalist paintings, such as Gérôme's Snake Charmer?

There is always a lack of direct Western colonial or Touristic presence. This is intended to exclude the westerns from the orient's history of their coming into being.