Abstract
As a viable social actor, art constitutes one of many institutions participating in the creation and reification of ideologies constructed within our society. Investigating the work of Ingres, Gérôme, and others reveals striking connections between the ritual use of Europeanized women in Orientalist harem paintings and the perpetual nature of women’s social oppression. A close examination of prominent works provokes the question “why paint recognizably white women against such non-white Eastern backdrops?” Continually, visual hierarchies and prescriptive codes allow the virtual entrance of the male voyeur into the painting. (first paragraph)
Recommended Citation
Black, Jennifer M.
(2006)
"Re-visioning White Nudes: Race and Sexual Discourse in Ottoman Harems 1700-1900,"
The Hilltop Review: Vol. 2:
Iss.
1, Article 4.
Available at:
https://scholarworks.wmich.edu/hilltopreview/vol2/iss1/4
Included in
Art and Design Commons, History of Gender Commons, Islamic World and Near East History Commons
