";s:4:"text";s:2769:" Instead of leaving the scene the black slave is now lifting away the curtain to reveal the seated women to the viewer. The women are cloistered together, not engaging with one another. The melody of gold, burnt umber, and red tones blending together creates a hazy, dreamlike reverie. The challenging stare of the women on the left reflects hostility towards the permeation of the private space. The painting has been applauded by scholars for its attempted ethnographic depiction, both in the relatively clothed forms of the females and the title of the painting itself, as it is devoid of the objectifying terms odalisque or harem.Although there is a desire for realism to evoke the decorative mood, the work fails to extend the desire for realism to the women themselves, and the social customs of the harem.
Three of the women are sumptuously adorned with loose, billowing garments and gold jewellery. The women on the left wears a lower plunging neckline revealing her décolletage and she now stares softly at the viewer with a warm, inviting gaze. The slightly fantasied scene has been transformed into a picture of pure nostalgia.
European male artists were unable to obtain access to the harem and so relied upon visits to brothels and their own imagination to conjure a fantasy image of the space. European depiction of the harem was almost perpetually dependent on the Oriental myth.
It was perceived as a timeless, exotic land of fantasy and adventure.
With the exposed décolletage, loose unbounded clothing and languid poses, Delacroix's Algerian females are still situated in the European oriental dream. By luck he was at the Algerian port where he met a merchant who gave him access to his households private harem. Research has shown that even first hand accounts by female artists and writers who had the opportunity to enter local harems were slightly embellished.The European myth of the harem fantasy intensified in the nineteenth century with the ready availability of the book Delacroix himself paralleled his experiences in North Africa to the The second painting was created between 1847 and 1849 and currently resides at the Musee Fabre in Montpellier, France. Women of Algiers in their Apartment (French: Femmes d'Alger dans leur appartement) is the title of two oil on canvas paintings by the French Romantic painter Eugène Delacroix. For the series of paintings and drawings by Pablo Picasso, see Ottoman Turkey, Egypt, Algeria, Morocco, and India were all condensed under the enigmatic category of "The Orient". There is almost no narrative in the stagnant space. Delacroix perfectly rendered the features of the women's clothing, adornments, and the interior decor in great detail. ";s:7:"keyword";s:42:"women of algiers in their apartment review";s:5:"links";s:974:"Marshon Brooks Salary China,
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