Orientalism’s Interlocutors: Painting, Architecture, Photography (Objects/Histories)


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Guide to Research in Islamic Art and Architecture

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Mazierska, Ewa : Eastern European cinema: old and new approaches. In: Studies in Eastern European Cinema 1, 1: Mead, Margaret : Anthropology and the Camera. In: Morgan, Willard D. New York: Greystone Press, Vol. Micklewright, Nancy : Turkey. In: Leman, Robin Ed. Oxford: Oxford University Press, New York: Berghahn, Images of Education. Bern: Peter Lang. Architecture of the Divided City. Klagenfurt: Wieser Verlag. Intervention and Research in Visual Culture. Bielefeld: Transcript Verlag, Millan, E. In: Journal of Consumer Policy Milner, Laura M. In: Journal of Euromarketing 7, 1: Mirzoeff, Nicholas Ed.

Belgrader Lebenswelten im Mitchell, Timothy : Die Welt als Ausstellung. Postkoloniale Perspektiven in den Geschichts- und Kulturwissenschaften. Mitchell, W. Thomas : Picture Theory. Essays on Verbal and Visual Representation. Chicago, London: University of Chicago Press. Roberts draws on a range of sources, including paintings, photographs, and travelogues discovered in archives in Britain, Turkey, Egypt, and Denmark.

She rethinks the influential harem works of the realist painter John Frederick Lewis, a British artist living in Cairo during the s, whose works were granted an authoritative status by his British public despite the actual limits of his insider knowledge. Unlike Lewis, British women were able to visit Ottoman harems, and from the mid-nineteenth century on they did so in droves. Writing about their experiences in published travelogues, they undermined the idea that harems were the subject only of male fantasies.

Their roles as art patrons defy the Western idea of the harem woman as passive odalisque. Mary Roberts. Until now, the notion of a cross-cultural dialogue has not figured in the analysis of harem paintings, largely because the Western fantasy of the harem has been seen as the archetype for Western appropriation of the Orient. In Intimate Outsiders , the art historian Mary Roberts brings to light a body of harem imagery that was created through a dynamic process of cultural exchange.

Roberts focuses on images produced by nineteenth-century European artists and writers who were granted access to harems in the urban centers of Istanbul and Cairo.

Orientalism’s Interlocutors: Painting, Architecture, Photography (Objects/Histories) Orientalism’s Interlocutors: Painting, Architecture, Photography (Objects/Histories)
Orientalism’s Interlocutors: Painting, Architecture, Photography (Objects/Histories) Orientalism’s Interlocutors: Painting, Architecture, Photography (Objects/Histories)
Orientalism’s Interlocutors: Painting, Architecture, Photography (Objects/Histories) Orientalism’s Interlocutors: Painting, Architecture, Photography (Objects/Histories)
Orientalism’s Interlocutors: Painting, Architecture, Photography (Objects/Histories) Orientalism’s Interlocutors: Painting, Architecture, Photography (Objects/Histories)
Orientalism’s Interlocutors: Painting, Architecture, Photography (Objects/Histories) Orientalism’s Interlocutors: Painting, Architecture, Photography (Objects/Histories)
Orientalism’s Interlocutors: Painting, Architecture, Photography (Objects/Histories) Orientalism’s Interlocutors: Painting, Architecture, Photography (Objects/Histories)
Orientalism’s Interlocutors: Painting, Architecture, Photography (Objects/Histories) Orientalism’s Interlocutors: Painting, Architecture, Photography (Objects/Histories)

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