In the visual arts, harem scenes had, by the nineteenth century, become a convenient excuse for painting titillating nudes: the odalisque had become the symbol of exotic and erotic splendour", (Croutier, 1989, p 179): a study of the use of fabrication and drapery and what it tells us about the genre of Orientalist paintings

Ventham, Rachel (2015) In the visual arts, harem scenes had, by the nineteenth century, become a convenient excuse for painting titillating nudes: the odalisque had become the symbol of exotic and erotic splendour", (Croutier, 1989, p 179): a study of the use of fabrication and drapery and what it tells us about the genre of Orientalist paintings. BA dissertation, University of Portsmouth.

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    Abstract

    The aim of this dissertation is to explore Orientalist art in a different way, a way which has not been done before. I am going to discuss the use of textiles within the genre; in a religious context fabrics are used as a symbol of modesty and purity, but in other contexts, such as artwork, can be used as a tool of seduction and eroticism. I will look into how this influences the works of such artists as Eugene Delacroix and Frank Dicksee, exploring the use of textiles and what this could be suggesting within the paintings. Different fabrics can be used in different ways to create various effects, for example, the use of diaphanous fabrics has an obvious intent of seduction, and fabrics which drape particularly well like silks are used accentuate the subject. There are also a lot of fabrics which are used for sensual experiences, such as velvet and again silk.

    Item Type: Dissertation
    Departments/Research Groups: Faculty of Creative and Cultural Industries > School of Art and Design
    Depositing User: Jane Polwin
    Date Deposited: 24 Nov 2015 14:26
    Last Modified: 24 Nov 2015 14:26
    URI: http://eprints.port.ac.uk/id/eprint/18972

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