LaurieAnnie's photos with the keyword: Odalisque

The Grand Odalisque 1814 Oil on canvas, 91 x 162 cm Musée du Louvre, Paris The effects in Ingres' paintings largely depend on drawing and linearity, but he also used colour to supremely calculated effect. The cold turquoise of the silk curtain with its decoration of red flowers intensified the warm flesh tone of the Grande Odalisque. This nude was painted in 1814 for Napoleon's sister, Queen Caroline Murat. Unlike the realism of Goya's Maja, Ingres' nude is hardly intimate, the eroticism here emerging slowly from the reserve and the questioning, assessing glance of the naked woman. This is a tradition that goes back to Giorgione and Titian, but Ingres has painted a living woman and not an allegory of Venus. Nevertheless, the realistic intimacy is lessened by setting the scene in the distant world of the Orient. For many in the West, the idea of the harem with its available or exploited women trapped in their own closed world was as much proof of the fallen or primitive state of the East as was its supposed savagery. But it was also infinitely titillating. Ingres's picture is more than this, however. A sense of loss was inevitably embodied in French perceptions of the East after their defeat in Egypt, and it was perhaps because it sublimated unattainable desires that the theme of the Oriental nude, bather or harem girl gained such a haunting appeal. Ingres is remarkable for combining a frank allure with a chilling perfection of flesh. He had picked up his discreet hints of the harem — a turban here, a fan there — from Oriental artefacts and miniatures in the collections of Gros and Denon. They serve to locate his nude, who otherwise could really belong anywhere, in a sensuous Orient of the imagination. Text from: www.wga.hu/frames-e.html?/html/i/ingres/05ingres.html

Seated Odalisque 1926 Object Details Title: Seated Odalisque Artist: Henri Matisse (French, Le Cateau-Cambrésis 1869–1954 Nice) Date: 1926 Medium: Oil on canvas Dimensions: 28 3/4 x 23 5/8 in. (73 x 60 cm) Classification: Paintings Credit Line: Gift of Adele R. Levy Fund Inc., 1962 Accession Number: 62.112 Photographs taken of Matisse's studio during the mid-1920s show North African textiles draped over furniture, hanging on the walls, and rigged into makeshift theatrical sets that served as backdrops for his odalisque-costumed models. When interviewed about his Odalisque paintings, Matisse stressed that the fabrics "play a role equivalent to the female nude." Text from: www.metmuseum.org/art/collection/search/489223

Reclining Odalisque 1926 Object Details Title: Reclining Odalisque Artist: Henri Matisse (French, Le Cateau-Cambrésis 1869–1954 Nice) Date: 1926 Medium: Oil on canvas Dimensions: 15 1/8 x 21 5/8 in. (38.4 x 54.9 cm) Classification: Paintings Credit Line: Bequest of Miss Adelaide Milton de Groot (1876-1967), 1967 Accession Number: 67.187.82 This work belongs to a group of paintings from the mid-1920s in which Matisse recalled his experiences in Morocco in 1912 and 1913. During these visits, the painter, like so many tourists before him, witnessed harems and became fascinated with their apparent blend of exoticism and eroticism. Showing a recumbent and seminude woman in a luxurious, inviting, and brightly patterned interior, Reclining Odalisque radiates with an outsider’s rapturous fantasies about the cultural and sexual liberation associated with Morocco. Text from: www.metmuseum.org/art/collection/search/489640

Reclining Odalisque 1926 Object Details Title: Reclining Odalisque Artist: Henri Matisse (French, Le Cateau-Cambrésis 1869–1954 Nice) Date: 1926 Medium: Oil on canvas Dimensions: 15 1/8 x 21 5/8 in. (38.4 x 54.9 cm) Classification: Paintings Credit Line: Bequest of Miss Adelaide Milton de Groot (1876-1967), 1967 Accession Number: 67.187.82 This work belongs to a group of paintings from the mid-1920s in which Matisse recalled his experiences in Morocco in 1912 and 1913. During these visits, the painter, like so many tourists before him, witnessed harems and became fascinated with their apparent blend of exoticism and eroticism. Showing a recumbent and seminude woman in a luxurious, inviting, and brightly patterned interior, Reclining Odalisque radiates with an outsider’s rapturous fantasies about the cultural and sexual liberation associated with Morocco. Text from: www.metmuseum.org/art/collection/search/489640

Reclining Odalisque (Harmony in Red), 1927 Henri Matisse (French, 1869–1954) Oil on canvas; 15 1/8 x 21 5/8 in. (38.4 x 55 cm) Jacques and Natasha Gelman Collection, 1998 (1999.363.44) Odalisques were the most popular subject of Matisse's Nice period, during the 1920s. They appear in diverse poses in innumerable canvases: reclining, lounging, seated, or standing, frequently with their arms raised or folded behind the head. Dressed or semi-dressed in exotic attire, they are placed against a decorative background of richly patterned fabrics and oriental rugs and surrounded by oriental accoutrements. Matisse's primary model for these depictions, from 1920 to 1927, was Henriette Darricarrière (born 1901), a young woman skilled in the arts of ballet, piano, violin, and painting who lived near Matisse's studio. In his third-floor apartment at 1, Place Charles-Félix, Matisse arranged an "Oriental" alcove, equipped with a low couch, mirrors, decorative screens, and profusely patterned wall hangings, creating an atmosphere of reverie and exoticism reminiscent of the Moorish interiors he had seen in Morocco. The model's sculpturesque body, languorously stretching on the couch, exudes sensuality and carnality, enhanced by the warm rosy red color scheme. The mood of "luxe, calme et volupté" is clearly palpable. Yet, contemplating the work, one gets the impression that the artist somehow distanced himself from the erotic content of the picture while leaving the excitement of recognition to the viewer. Despite their attempt at authenticity, the paintings appear carefully staged and full of theatricality. The theme of odalisques during Matisse's Nice period is central not only to his paintings, but also to his sculptures, drawings, and prints. Text from: www.metmuseum.org/toah/hd/mati/ho_1999.363.44.htm

Artist Jean-Auguste-Dominique Ingres and Workshop (French, 1780–1867) Title Odalisque in Grisaille Date ca. 1824–34 Medium Oil on canvas Dimensions 32 3/4 x 43 in. (83.2 x 109.2 cm) Credit Line Catharine Lorillard Wolfe Collection, Wolfe Fund, 1938 Accession Number 38.65 Ingres included this picture—an unfinished repetition of the celebrated "Grande Odalisque" of 1814 (Musée du Louvre, Paris)—in a list of works that he painted between his return to Paris from Italy in 1824 and his departure for the French Academy in Rome in 1834. After 1824, Ingres invited his students to assist him with all large paintings, and that is probably true of this canvas as well. When the "Grande Odalisque" was exhibited at the 1819 Paris Salon, critics considered the anatomical distortions both extravagant and odd and the Turkish accessories out of fashion. The painting did not receive the admiration it deserved until it was reexhibited in 1846 and 1855. By then, writers such as Baudelaire recognized that the bizarre was an essential component of Ingres's aesthetic: "The beautiful is always bizarre." Text from: www.metmuseum.org/works_of_art/collection_database/europe...

Artist Jean-Auguste-Dominique Ingres and Workshop (French, 1780–1867) Title Odalisque in Grisaille Date ca. 1824–34 Medium Oil on canvas Dimensions 32 3/4 x 43 in. (83.2 x 109.2 cm) Credit Line Catharine Lorillard Wolfe Collection, Wolfe Fund, 1938 Accession Number 38.65 Ingres included this picture—an unfinished repetition of the celebrated "Grande Odalisque" of 1814 (Musée du Louvre, Paris)—in a list of works that he painted between his return to Paris from Italy in 1824 and his departure for the French Academy in Rome in 1834. After 1824, Ingres invited his students to assist him with all large paintings, and that is probably true of this canvas as well. When the "Grande Odalisque" was exhibited at the 1819 Paris Salon, critics considered the anatomical distortions both extravagant and odd and the Turkish accessories out of fashion. The painting did not receive the admiration it deserved until it was reexhibited in 1846 and 1855. By then, writers such as Baudelaire recognized that the bizarre was an essential component of Ingres's aesthetic: "The beautiful is always bizarre." Text from: www.metmuseum.org/works_of_art/collection_database/europe...