Instead of leaving the scene the black slave is now lifting away the curtain to reveal the seated women to the viewer. Ultimately Delacroix's stolen glance into the Algerian harem provided him with little visual information to create a realistic image. For the series of paintings and drawings by Pablo Picasso, see
The composition of the figures remains the same, however the women are now depicted as smaller figures and fade back into the background.
European depiction of the harem was almost perpetually dependent on the Oriental myth.
With these gaps in visual information Delacroix fills the voids with his own European interpretation, resulting in a subtler version of the fantasy female.
Aside from this glance there is no depiction of the nineteenth century social customs of the harems of elite Algerian culture. 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 European concept of the harem further implants itself within Delacroix's work, ultimately creating a painting that objectifies and eroticizes the Algerian women to a greater extent than the original 1834 version.
This attention to details follows through from his 1832 Algerian sketches into the 1834 oil painting of the same scene. In comparison, the viewer can see the influence of time and nostalgia upon the interpretation of visual information.
It was perceived as a timeless, exotic land of fantasy and adventure.
Delacroix perfectly rendered the features of the women's clothing, adornments, and the interior decor in great detail. The women are cloistered together, not engaging with one another. The fourth woman is a black slave who exits the scene, looking over her left shoulder towards the seated women. 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.
By luck he was at the Algerian port where he met a merchant who gave him access to his households private harem.
Ottoman Turkey, Egypt, Algeria, Morocco, and India were all condensed under the enigmatic category of "The Orient". 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. This ignorant understanding had been developing since the seventeenth century with the introduction of Chinese and Japanese culture and aesthetics into Europe by the Jesuits.By the nineteenth century this warped myth had developed into a perceived truth and each subsequent piece of information on North Africa validated, and in turn propagated this Oriental myth. 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. Delacroix created two small sketches of the women in the Algerian harem that he later used to create his oil painting The nineteenth century concept of North Africa was a warped and fantasised interpretation of the foreign countries. This article is about the Delacroix painting. One woman has a pink flower in her hair.
The second painting was created fifteen years after the 1834 original. The addition of stereotypical Orientalist motifs, such as the Delacroix joined the party and together they set sail in 1831 and arrived in Tangiers, Morocco, on 25 January 1832.Delacroix returned home via Spain, and Algeria, where he stayed for three days.
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. With the exposed décolletage, loose unbounded clothing and languid poses, Delacroix's Algerian females are still situated in the European oriental dream.
The work depicts four women enclosed in a lavishly decorated room.
There is almost no narrative in the stagnant space. 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.
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women of algiers in their apartment review