PELTRE Christine.
The Orientalists.
Hazan
Regular price
€45,00
| N° d'inventaire | 23920 |
| Format | 27 x 29 |
| Détails | 336 p., publisher's hardcover. |
| Publication | Paris, 2018 |
| Etat | Nine |
| ISBN | 9782754109642 |
New, revised and expanded edition of the reference work on the Orientalists. In 1997, in a landmark synthesis, Christine Peltre retraced the major stages of a pictorial movement inspired by a passion for the Orient, whether dreamed of or approached. The artistic production echoes the "Oriental Question" that agitated 19th-century Europe. Born with the Egyptian campaign of 1798, artists' interest in the subject was fueled, among other things, by the Greek insurrection in 1821 and the capture of Algiers in 1830. The romantic inspirations that radiate from Delacroix's Moroccan work were followed by the "ethnographic" approaches of travelers in search of otherness, before the aesthetic upheavals formulated by Matisse and Kandinsky around the exhibition of Muslim art in Munich in 1910.
Since 1997, monographs, exhibitions, and current events have expanded our knowledge of the Orientalist movement and fostered our interest in the subject. Twenty years after the first edition and after several reprints, these new Orientalists offer an expanded vision of a question that questions the way we look at others. We can indeed speak of "Orientalism of the Orientals" by studying the subjects treated at the end of the 19th century or the beginning of the 20th by painters from Turkey or North Africa, often trained by European workshops. At the same time, the perspective of Western artists is enriched by a deep knowledge of the arts of Islam, often present in their own collections. We must "see with different eyes," challenge clichés and "mélopeintres," or even seek another visual language inspired by a specifically Oriental tradition.
The very gaze that makes the other an oriental or that questions the role of women is affirmed today in the works of artists from these cultures, the "New Scheherazades." Is another geography of the Western Orient taking shape? Christine Peltre attempts to provide an answer to these intersecting stories, between several cultures, between art and history, between politics and society, in a richly illustrated book. Filtered by their time, each work, each artist, retains the brilliance of an Orient that urgently needs to be redefining.
Since 1997, monographs, exhibitions, and current events have expanded our knowledge of the Orientalist movement and fostered our interest in the subject. Twenty years after the first edition and after several reprints, these new Orientalists offer an expanded vision of a question that questions the way we look at others. We can indeed speak of "Orientalism of the Orientals" by studying the subjects treated at the end of the 19th century or the beginning of the 20th by painters from Turkey or North Africa, often trained by European workshops. At the same time, the perspective of Western artists is enriched by a deep knowledge of the arts of Islam, often present in their own collections. We must "see with different eyes," challenge clichés and "mélopeintres," or even seek another visual language inspired by a specifically Oriental tradition.
The very gaze that makes the other an oriental or that questions the role of women is affirmed today in the works of artists from these cultures, the "New Scheherazades." Is another geography of the Western Orient taking shape? Christine Peltre attempts to provide an answer to these intersecting stories, between several cultures, between art and history, between politics and society, in a richly illustrated book. Filtered by their time, each work, each artist, retains the brilliance of an Orient that urgently needs to be redefining.
Since 1997, monographs, exhibitions, and current events have expanded our knowledge of the Orientalist movement and fostered our interest in the subject. Twenty years after the first edition and after several reprints, these new Orientalists offer an expanded vision of a question that questions the way we look at others. We can indeed speak of "Orientalism of the Orientals" by studying the subjects treated at the end of the 19th century or the beginning of the 20th by painters from Turkey or North Africa, often trained by European workshops. At the same time, the perspective of Western artists is enriched by a deep knowledge of the arts of Islam, often present in their own collections. We must "see with different eyes," challenge clichés and "mélopeintres," or even seek another visual language inspired by a specifically Oriental tradition.
The very gaze that makes the other an oriental or that questions the role of women is affirmed today in the works of artists from these cultures, the "New Scheherazades." Is another geography of the Western Orient taking shape? Christine Peltre attempts to provide an answer to these intersecting stories, between several cultures, between art and history, between politics and society, in a richly illustrated book. Filtered by their time, each work, each artist, retains the brilliance of an Orient that urgently needs to be redefining.