Napoleon Bonaparte Visit The Plague-Stricken In Jaffa '

This royal assembly is dominated not by Charles IV but by Queen María Luisa, whose ugly features are accentuated by her ornate costume and rich jewels. On its right is Self Portrait painted in 1803 by James Barry. Barry represents himself wearing an elegant red coat with a yellow waistcoat and white shirt underneath. In this portrait he is holding a painting of Cyclops, known in the the classical literature world as a one-eyed giant who devoured human flesh. In the background, windswept trees and an active volcano add drama towards the story of the portrait. Moving on, we are now viewing Napoleon Visiting the in the Plague-Stricken in Jaffa created in 1804 by painter Antoine-Jean Gros. The feeling of horror and sadness is within us all while viewing this painting due to Gros’ astounding emphasis on the pain felt by plague-stricken and the respect and kindness Napoleon expresses towards the ill. On the right is Madame Riviere painted sometime between 1805 and1806 by the famous painter Ingres. The subject of the painting is Madame Philibert Rivière, the wife of a high-ranking government official in the Napoleonic Empire.

Large busy markets, snake charmers, carpet vendors, and veiled women all invoke ideas of West Africa, the Middle East, and West Asia, but all these ideas come from Oriental fantasies from the nineteenth century. Edward Said the author of Orientalism said that “Orientalism was ultimately a political vision of reality whose structure promoted the difference between the familiar (Europe, West, "us") and the strange (the Orient, the East, "them").” The nineteenth century was a period of imperialism and tourism that led many western artists to visit West Africa, the Middle East, and Asia. Orientalist paintings depicted two major effects, many artists often portrayed something “exotic,” which was racialized, feminized, and from a sexualized culture from a faraway land. Another effect that artists mainly like Jean-Léon Gérôme often showed was an authentic glimpse of a location and its inhabitants. Nochlin mentioned that many of Gérôme’s paintings worked to persuade their audiences by carefully representing a "preexisting Oriental reality.”

Disney’s Aladdin is a fit example of misrepresentation of diverse cultures from a Westernized perspective. Disney is famous for lending representations of world from a Western viewpoint. According to Edward Said, orientalism is a way of expressing Arab peoples and Islamic cultures as compared to Western or European society (Palestine Diary). Said’s explains orientalism is the framework that we use to

context such as race and gender, and the history of the painting. In addition, I will be

The work shows many of the figures sitting or kneeling, while others stand. Most of the figures depicted are holding what appears to be different weapons and tools, while one holds a piece of meat. The man in the right corner holding the meat appears to be smiling, however the other figures have gloomy expressions on their faces. This exchange may be because of the historical context that surrounds the painting, the work was painted in such a time that many white colonizers believed that

The poster makes people feel a sense of obligation to serve their country. The last theme the video will touch on is Orientalism. The film will include many clips of wars and conflicts in the Middle East which will fit the topic of Orientalism. Orientalism is the Western perception of the Middle East and East Asia. Many Westerners have the perception that the Middle East is an exotic, war torn land where the Muslims and Christians fight one another endlessly.

Concerning color, there is a stark contrast between the figure on the painting and the background. More specifically, the figure of the woman is predominantly delineated in white color, especially pale, ashen white, as far her apparel and facial complexion are concerned, while there are also various hues of grey, with respect to her hair and accessory feather. These white and grey shades are vividly contrasted with the prevailing red and crimson hues of the background (viz. the drape, armchair, and table). Moreover, one can detect colors of dark green (jewelry), some beige on the left (pillar), and darker or lighter shades of blue on the right side of the canvas (sky), which all in concert and in addition to the subtle purple hue forming the sun or moon exude a certain dramatic sentiment. Also, there is brown, which often easily segues into gold (viz. books and attire details respectively). The main contrast of colors between white and red would be interpreted as serving the purpose of rendering the figure of the woman, and especially her face, the focal point of the work, despite, paradoxically enough, the lush red shades at the background. Bearing that in mind, the significance of the woman’s face will be enlarged upon later, when discussing aspects of her identity.

I want to research whether portrayals of Orientalism in the media are used to retroactively justify decisions such as imperialism or the Vietnam War. I chose this topic because I found Edward Said’s theory of Orientalism very thought-provoking and wondered if it can apply to contemporary society. In addition to that, I have not seen a lot of contemporary analysis on Orientalism of Southeast Asia. My initial inspiration was when I watched the film No Escape, which seemed blatantly racist and problematic. I narrowed and refined my topic by further researching the concepts of Orientalism and otherness, and considered how they could be applied to this film. Sources that have been key in defining my research topic include scholar articles on Orientalism

The portrait is displayed horizontally with a gold trimmed frame. The subject is a female that looks to be in her early 20’s sitting upright on a large brown chair. If the viewer travels up the painting the first indication of the woman’s class is her satin, blue dress. The saturated blue shines and falls in the light like water. Paired with the dress are her exceptionally detailed endings to her sleeves. The lace is even painted as though it is translucent, allowing a little of the blue dress to show through the sleeve. Flowers throughout history have symbolized innocence of a woman and her virginity. The repeating theme of flowers, in the sleeve cuffs and ribbon) in the woman’s attired suggests her purity or innocent nature. Another very details section of the painting includes the corset/torso details. The sewing suggests texture in the torso with small beading in between. Towards the top of the chest in the center, the female seems to bear an extravagant, ribbon piece with a tear drop bead in the center. The light pink

The use of the Orient as an exotic backdrop in movies is a very clear example of orientalism. The use of exotic sceneries in movies which are supposed to be set in the East is a very common thing done by the Hollywood directors. One of these movies is "The Living Daylights" featuring popular character, James Bond. When Bond finds himself imprisoned in a Russian military base in Afghanistan, he escapes with the help of another prisoner, Kamran Shah, the leader of the local ‘mujahedeen’ (term used for a person who is part of the Jihad). Even though the movies portrays a period when the Americans and the Afghans were allies, many years later, the majority of the Mujahedeen would become the Taliban that the U.S. continues to fight till this very

Orientalist imagery, particularly of the Ottoman empire, featured prominently in the French Neoclassicist artist Ingres ' works. Western gaze on the Orient permeates his creations of sultry women lounging around the harem, waiting for their sultan to arrive. The Orientalism of the female nudes in the paintings The Grand Odalisque (1814) and The Turkish Bath (1863) is evident. The Orient occupied the "Other" in the eyes of the west (Said 44) and became a subject of fascination for Ingres (Shelton 212). Ingres created ethereal, exotic images of the Ottoman Harem and thus, established his role as an Orientalist.

In “Social Space and the Genesis of Groups”, Bourdieu (1982) discusses how habitus, as well as different kinds of capital, can combine to determine an individual’s place in society (Bourdieu, 1982 as cited in Applerouth & Edles, 2016). In “Outline of a Sociological Theory of Art Perception”, Bourdieu (1968) discusses “art” and how it is that those with greater capital are able to engage with art (Bourdieu, 1968 as cited in Applerouth & Edles, 2016). Although the greater narrative implies that those with greater capital can engage “art” because of innate qualities, the reality is that through their continued exposure to art (which stems from their economic capital), they can develop an understanding of it (Applerouth & Edles, 2016). In Edward Said’s (1978) Orientalism, Said (1978) discusses “orientalism”, the areas of study that focus on the areas “east” of Europe (Said, 1978 as cited in Applerouth & Edles, 2016). Said’s (1978) point is that “western” scholars have created this idea of the “orient” to create a distinction between themselves and those from areas that were part of the “oriental” umbrella (Said, 1978 as cited in Applerouth & Edles,

art history, depicting the traditional theme of the female act. Even so, the position of the left

This essay will be showing how Tahani Alshabeeb’s painting demonstrates the iconography methodology in the context of social and cultural issues related to Muslim women in the Arab region generally and in particular in the Middle East during the late 18th to the 19th century. It will also show how the viewers/audience may understand the signs and symbols that has been applied to the painting and how it can be interpreted. This essay is divided into 3 main sections. Each section is arguing a main point that has been shown in the painting. First, I will explain the definition of iconography and how it can be described through the selected painting. Then, I will elaborate on the role of woman in 18th – 19th century and how it’s been affected by culture and society through the way it’s been demonstrated in the painting. The last section will be unpacking the signs applied in the painting in terms of colour, position and overall painting layout. This essay will interpret the iconography that Tahani used in her painting ‘The remnants of the heritage’.

Orientalism is a concept coined by Edward Said regarding the lens used by the dominant powers of the west in which to look upon anyone who could be considered an ‘Other’, often to portray them as threatening, dangerous or simply those who need the aid of western civilization and unable to help themselves. In the first