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    13 views14 pages

    Nochlin - Orientalism PDF

    Uploaded by

    Eduarda Suzumura

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    © All Rights Reserved
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    of 14
    The Pio Ye inl oftenthirword ants among the demands ofthe lca eure, the expression of national identity, and the frequently internalized demands For igh quai, in which quai inevtably equated wich the standards ofthe worl center. Yer atthe sume time, one muse not underestimate the imporance, expecially in the nineteenth and eater tented century, but today 38 ‘wel of madeenty and modernination as iberating expansion concept, ‘which opened doors, knocked down walls expanded the cramped, ote ‘conventional ols inflicted on people by tational village culture, Both nineteenth and ewentit-centuy Beton offers ut enn visions ofthe talented othe wnatal individ oppressed by oe languishing in resrc- tive, sulting provincial stings, fom Madame Bary to the Tiree Siner. The center, then-—Pais above al forthe nineeenth-centry at ie—should be though ofa just in terms of oppresion ot domination, but the source of ileraton and stilton 23 well In thi conic, 0 czatal othe meaning and direction of ar, and indeed, ofall cata crestion today, Francisco Oller ands a an exemplary figure, one whose importance extends far beyond the sland hich nourished hin with hat allinportant sense of place ‘smn Sah ig gee ot 1c Ole tein ai ie: a ‘Reno Ren ne Deeb sent (amie Ol 2 7 He LINDA NOCHLIN, THE PoLs 71 (OW: ESSAYS OW Me CENTURY ART AND SOCIETY (HE Wy YORK: HARPER Row, 1989) 3 The Imaginary Orient em np, fea ha 9 corp ye ‘What isthe rationale behind the recent spate of revisions or expansionist sibs of winetoothscetury art—TBe Age of Relation. Te Second Enpirg The Reale Tradition, Norhrn Light, Women criss, various shows of academic at te? Is i simply to racover overlooked or forgotten works of? Isic reevaluate che material to ereate anew and les value laden canon? These are the kinds of questions that were raised — ore ofl unintentonlly, one suspects—by the exibition and ‘tale Orel: The Near East im French Punting 8n-18.° ‘Alnowe all he Orientals eiition makes ws wonder whether there ae other questions besides the “normal” ahistorical ones hat ought. tbe asked ofthis materi. The ongunier ofthe show, Donald Rosenthal, stggess that there are indeed important sues at stake her, but he dlib- rately stops shor of confronting them. “The unifying characteristic of intent century Orientalism was its tempt at documentary els.” the declares in the introduction to the estalogue, and then goes on (0 Imsintain, quite corel, that “the flowering of Orientalt painting ‘wae closely associated with dhe apogee of European clonal expan- sion in the ninetenth century.” Yet having seerel ro Bawa Sais trical denon of Oren in Western Hterature 3s « mode for ‘fining the presumed clara inferioity ofthe Islamie Oven par oni, designed to asl and perpetuate European dominance,” Rosechal immedi rejets this analysis in his own study. “French Oriental pining will be discussed in erm of aesthetic quality and isorial interes, adm mode ata eealaton of ip art historia business 5 Tike hor patos er surely the Key notion of Oren itsf—cannot be confronted without 3 critical analyse ofthe paticula power structure in which these works being. For instance, the depres of realism (or lick of in individual Orient images ean hardly be dicussed without some a se realty we are talking about ‘What age we to ake, for example, of Jesn-Léon Gézbmne' Stak (Charmer, painted nthe ate wos (now in che Clare Ar Tosa sisal documea of ninerenth-cenury colonials i disilaion of the Westerne’s noon of the Oriental couched in the Tanguage of 1 would-be erasparent atu, (No wonder Said used i a the dus jacket for hs crite study of the phenomenon of Oriental ism) -The tite, however, doesnt relly el he complete try the paint ing shoud ely be elle The Soe Charmer ond His dienes, for we are clerly meant o look at both peroomer and audience as pats ofthe his period works like Manet's or Dega's Café Gace, for exarpl which ae sex in Pri—invted to identi with the adence. Te watch rs huddled against the ferociously detailed ted wal inthe background f Gerime’s pining ae a5 resolutely alienated From us athe act hey watch with sch chidh, tranecike concentration. Our gate meant * picaresue ‘ekctaion ‘Clerly, chet lack and brown folk te mystified but then gai, s are we: Indeed, the defining mood ofthe painting 6 mystery, and iis treated bya specifi pictorial device, We are permitted only 2 beguiling Holding the snake A fll frontal wew, which would reveal unambiguously both his sex andthe flies of hi dangerous pe Formnce dened us. And the insistent, sexually charged mystery tthe craterof th painting ignifesa more pena one: the nstery of the East isl, « sandard topos of Orenais deol Despite oe perhaps boats of the insistent riches ofthe vse det of the young pr trtocks and muscular highs; the wrinkles of the venerable snake charmer to is ight the varied dlghs oer by the pctresque crowd and the allurngly elaborate surfaces ofthe authentic Turkish eles, carpet, and Girdme offers the manifest basket which serve ax décor—we are haunted by certain abet in the Dttng. Thee absences ae so conspicuous that, once we beco ‘them, they begin o fonction as presences, in fac, signe of certain ind of concep deprivation, One absence ithe absence of history. Time stands sill in Gomes painging, a it docs in all imagery quae s “picturesque,” including hineteenh-century representations of pesunts in France itself. Géxie ‘Suggests dha his Oriental word s« word without change, # word of times, temporal cons anil, touched by the histori pro Cone hat were acing” or “improving” bt at ay rte desl Stering Westen societies atthe me. Vet theme were infact years of ‘entand conspicuous change ote Neo Ease wel changes ected primary by Wester power_techoologksl miltay, cconoms, co furl—at pecially By the very French present Gexbme ssp loony avoid Inthe very time when ad place where Germ’ pcre wa ped te la 8s in Consannope the gnerment of Napoleon Il wat faking an active itera (were the governments of Rosa, Aus aed {Great Brin) in the flrs he Orman goverment to efor and Imerie inl “Ie was seesry to change Mim abit to desoy {hag old anatcsn which wa otc the foo of es a Cresta mudern sear ste" ecced French historian Edosard Dr ‘La Qnotion Oren (98, “I wap necenary wo tensor. the Cdcaton of bork compres and subject and incest in both the known spit of wlrece- noble sk, wordy ofthe gest renown of Franc,” he conned Te the Ota Hak ws founded, wth he controling interest in French hans ln sth French government vite he stan 1st Pars and recommended to hin system of iar plc edvestion and the underaking of great pubic works snd somimuriation rym fa ‘te una the it con af che Tasch Minar of Paige Aer Ind the French Arbasador, the Lye of Galt Seri was opened, 2 fren secondary school open to Otomunsbjss of every ace and ereed, ‘tere Europeans taught more than sc hundred oye the Pench las iuage—"s yb.” riled, “ofthe action of France, exeing feel isewt the pape of the Oren in her ow language the Clements of Western ciation Inahe sue yea, company eonssting {tiny of French epitaiste esved » onset for lays to comet preset day Lab and Salonice with the extng ray onthe Mi fle Dan" "The abenc of sense of stony, of temporal change, in Grimes pining isintinatelyeled vo anor atrking sence the work that fh lal presence of Westerners. Ther a ever any Europeans in “preg views ofthe Orient ie thee. Indeed, ght be id that coe of he deining etre f Orit puting dependence for its very exes on apse hati says an sere the Westen ‘elo or ene re The white man the Westerner, of couse alvays inp present in Orewa pings He Sue Clore snc thet ling poe, the prs which ings the Oral wari a biog, he gre for wich lioely inde. Ard this leads us tl evother atrece Paro the rtp of a0 Onna per ie Ge 0 ike hx viewer fp here a ny “binging i being” al tmconvnce them hat works He thx were simply Selections” en Cie in hi esac, of «peeing Oreilly. In is own tne Gerbne wa eld o be dnmtngly obctiv and scene and wae compared inspect with Rela ove, Asn ‘American ere decd ia ye ing oe ofthe met sna and onsen recount crn co ay ee ed ere" He tbevs lym Chris Rea does the big the pa athe arto be a even mate ner he pind nd hoy work preening to sto arc Bac ro ane Stole pney of sven tamed of ie carb rly coin Spirent gaia ence Tay died nf it ‘heb Of Gerd ged tha sever nea pre witout he ‘ecient cen pr ‘The srtegies of “eis” (or perhaps “pseudo-reais:”“auent <3" o “nals” would be Beer tems) mystieation go hand in hand with those of Orienaise mystifstion. Hence, another absence which onsiutessignfcane presence inthe paoring: the asence—that eto say, the apparent absence—of ar As Leo Bers has pointed a in his vce on reali andthe fer of desire, "The seriousest” of ris art is tased om the absence of any reminder ofthe fat that ei relly 2 (question of are"? No other ats ass inexorably erated al tees of the piture plane as Gérdme, denying us any clue t the at work a Tie fae surfce. If we compare a painting ike Gerdes Sivet in Algiers with is prorotype, Delcroix’s Stet in Aebne, we iumediatly se that Gerd, Whe sof Vis {nthe interest of atlesnes” of innocent, Oneal transparency. goes "ich farther then Deacrx a supplyag picturesque data othe Western ‘mere and in veiling the ae tha he sage conse of pant om canvas. ‘A natural o autheniie™ aris ike Gerd ees 0 make ws Forget ‘hat his ae realy ar, both by concealing the evidence of his touch, a tthe sume ime, by insisting on a plethora of authenticating deals ‘Specialy on whit might be ealed unnecessary ones, These include not snerly the "ueflly executed Turkish ie patterns tha Rickard Esing Fausen pointed out i his soya Grome catalogue: not merely the atiss renditions of Arbc inscriptions which, stinghausen mains, can be ‘sly read? bt even the “later rept” onthe tile work, which, unetion fing at fst sight rather like the barometer on the piano in Flaubers

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