50 Sentences With "odalisques" | Random Sentence Generator

Their hard, shiny surfaces are like shop signs: Odalisques Painted Here.

Here we are far from Matisse's self-portraits in the studio, painting odalisques.

In between lies the rest of the exhibition, most notably three of Matisse's odalisques who occupy the center wall.

When she stirs, she moves languorously, and when, still reclining, she strikes an over-the-shoulder pose, you think of the odalisques of art history.

Objects in his novel are emblems while people are odalisques, slaves to the pen that creates them — until they break free, into wild and uncontrolled abstractions.

Contrasting that was Mickalene Thomas's boisterous midcareer survey at the Brooklyn Museum in 2012, featuring her large-scale relief paintings celebrating black women in lavishly decorated interiors that riffed on Matisse's odalisques.

The dance realms of 22016th-century ballet were harems (sometimes literally, as in one all-female scene of "Le Corsaire," where odalisques and concubines dance on point with flowers in happy captivity).

"I was thinking a lot about neoclassical odalisques—marble statues of female figures twisted in unnatural positions displayed at the Metropolitan Museum of Art or in the Louvre," Torn tells The Creators Project.

The first model I built, the one that was the woman I used in "Machina," the beginning of the body series that you saw in 2004, was inspired by Raphael and Titian odalisques.

Heavyweights like Henri Rousseau, André Derain and Maurice Utrillo have rooms of their own, while several super-heavyweights are represented by multiple canvases: Modigliani's narrow female portrait sitters; Matisse's lounging Orientalist odalisques; and Picasso's brooding, dark nudes.

Certain preoccupations recur across the year, most notably different treatments of the female form: the furious, needle-toothed harpy in The Woman with a Dagger, Picasso's reimagining of David's The Death of Marat; serene classical busts with engorged, proboscis-like noses in the sculptures produced at his studio at Boisgeloup; disembodied assemblages of abstract volumes, floating in space; languorous, reclining odalisques, lost in sleep or contemplation.

The painting is a naturalistic depiction of a scene from the interior of the Palm House. At the center of the painting, four odalisques dressed in Oriental-style, gold-trimmed outfits are lounging. The addition of odalisques into paintings was a common Orientalist trope. The odalisques, much like the palm trees and the Indian architecture, are treated as exotic objects and symbolize the power and wealth of European royalty and aristocrats.

Matisse had been famous for his images of languid, voluptuous women known as odalisques—the French form of the Turkish word for women in a harem. "When Matisse died he left his odalisques to me as a legacy," joked Picasso. Many of Picasso's portrayals of Jacqueline circa 1955–56 represent her in this guise (cat. 9). The consequences of Picasso's Femmes d'Alger series were far-reaching: "I thought so much about Les Femmes d'Alger that I bought La Californie," Picasso explained to his biographer Pierre Daix.

Couperus biographer, Frédéric Bastet, described Couperus' poems as: Bacchantes, odalisques, sirens and eunuchs populate this Parnassiens-poetry, but they remain opera characters without much content. Frédéric Bastet, Louis Couperus. Een biografie. Amsterdam, 1987, p. 106-107.

Jacobson, K., Odalisques and Arabesques: Orientalist Photography, 1839-1925, London, Bernard Quaritch, 2007, p. 277. By 1863 Felice was living and working in Japan.Bennett, T., History of Photography in China, 1842–1860, London, Bernard Quaritch, 2009, p. 141 and 241.

Jacobson, K., Odalisques and Arabesques: Orientalist Photography, 1839-1925, London, Bernard Quaritch, 2007, p. 277. Photographs taken by the Zangaki brothers are commonly found in tourists' albums assembled in the Middle East in the second half of the 19th- century.

Critics such as Alan Artner and Christopher Lyon identified a greater sense of eroticism in the work, alternately comparing it to the fleshy ruddiness of Rubens, the odalisques of Ingres, and musculature of Michelangelo.Lyon, Christopher. "Frank Piatek," Art Express, November/December 1981.Lyon, Christopher.

The Odalisques (Museum of Grenoble). Jacqueline Marval was the pseudonym for Marie Josephine Vallet (1866–1932), a French painter, lithographer, and sculptor. Vallet was born 19 October 1866, in Quaix-en-Chartreuse into a family of schoolteachers. She separated from her husband in 1891 and earned a living making waistcoats.

The Interior of the Palm House on the Pfaueninsel Near Potsdam, commonly shortened to The Interior of the Palm House or The Palm House, is an 1834 oil on canvas painting by Carl Blechen. The painting depicts four odalisques as they relax in a palm house at the royal retreat of Pfaueninsel.

The seraglio. The sultan and the sultana retire for the evening, and Don Juan, still dressed as the woman "Juanna" is taken to the crowded harem, where the odalisques reside. Juanna must share a couch with Dudù, a pretty, seventeen-year-old-girl young. When asked his name, Don Juan calls himself "Juanna".

Altman, E. and Evans, F. H., Scholars, Scoundrels, and the Sphinx: A Photographic and Archaeological Adventure up the Nile, Knoxville, Tenn., McClung Museum, 2000, p. 8 In the late 1860s, Antonio was in partnership with the French photographer, Hippolyte Arnoux.Jacobson, K., Odalisques and Arabesques: Orientalist Photography, 1839-1925, London, Bernard Quaritch, 2007, p. 277.

The story has analogs in Indian literature, particularly the Jatakas of the early fifth century. Many of the details, such as the Tower of Maidens (i.e. harem), eunuch guards, and the odalisques derive from material carried to the west via The Arabian Nights. The tale could be originally French, or possibly of Oriental origins, or a synthesis of motifs.

The film was filmed in two versions. There is a French version of the film (released in 1953) with more daring shots including those with the future Sophia Loren, as an extra, who appears topless. Loren was 16 at the time of filming. During the filming of the harem scene, for the Italian version, the odalisques' breasts were covered with swimsuit tops.

From their Port Said studio, they were ideally situated to sell to Europeans visiting Egypt as part of a Grand Tour.Jacobson, K., Odalisques and Arabesques: Orientalist Photography, 1839-1925, Bernard Quaritch, London, 2007, p. 277 The Zangaki brothers traveled along the Nile accompanied by a horse-drawn darkroom wagon to document the Egyptian scenery, architecture and events.Encyclopedia of Nineteenth-Century Photography edited by John Hannavy, p. 1521.

After she came to Tunisia and was placed on the list of female odalisques, she married nearly two years later from Muhammad III Sadiq in 1877 and lived with him for five years in a somewhat parental relationship because he was about 50 years older than her until his death in the year 1882 and that after he signed on the Bardo Treaty that established the French protectorate in Tunisia.

For example, he used a photograph as the template for the background in his painting of a pottery shop.Jacobson, K., Odalisques & Arabesques: Orientalist Photography 1839-1925, Quaritch, 2007, p. 71 Tarenghi's paintings: The Return from Work and Prayer by Muslims were exhibited the first in Turin, in 1880, the latter in Milan, the next year. In Rome, in 1883, he had two canvases: Abbey of San Gregorio in Venice and Fulvia.

The initiative for the academy came from the Steins and the Dômiers, with the involvement of Hans Purrmann, Patrick Henry Bruce, and Sarah Stein.Christopher Green, Art in France, 1900–1940, Pelican History of Art Series, Yale University Press, 2003, p. 64, Matisse spent seven months in Morocco from 1912 to 1913, producing about 24 paintings and numerous drawings. His frequent orientalist topics of later paintings, such as odalisques, can be traced to this period.

According to Couperus' biographer Bastet Orchids was crowded with odalisques Couperus wrote the poems that were collected in this book in 1884 and 1885. In July 1886 he wrote to his sister Trudy: During the autumn I intend to reprint my verses and prose under the name of "Orchids". Don't you think that title is quite chic and aristocratic? Paul Ekhard, 'Louis Couperus', in: De nieuwe courant, 10 juni 1913; herdrukt in Maatstaf 11 (1963-1964), p. 156.

Two Odalisques Contemplating the Bosphorus, 1843 Mosaic in the apse of the Panthéon (Paris) Painted in a Romantic style, it depicts a family of Italian peasants escaping an epidemic by raft, a scene inspired by events Hébert had witnessed while in Italy. One of Hébert's students Paul Trouillebert was an important artist of the Barbizon School. The artist's house is preserved as the Musée Hébert in the 6th arrondissement of Paris. There is another museum near Grenoble.

In 1924 he was selected to participate in the Venice Biennale, with a group of French artists that included Albert Marquet, Pierre Bonnard, and Maurice Denis. His works of this period featured exotic scenes from Algeria, and odalisques, as well as cityscapes of Algiers. His modernist paintings and drawings of blacks and whites together were condemned by traditional critics as too radical, while his other paintings were condemned by modernist critics as too traditional.Michele Gorrenc, pg.

"When Matisse died he left his odalisques to me as a legacy," joked Picasso. Many of Picasso's portrayals of Jacqueline circa 1955–56 represent her in this guise (cat. 9). The consequences of Picasso's Femmes d'Alger series were far-reaching: "I thought so much about Les Femmes d'Alger that I bought La Californie," Picasso explained to his biographer Pierre Daix. La Californie was a Belle-Époque villa situated in the foothills of Cannes in the South of France.

In many of these works, they portrayed the Orient as exotic, colorful and sensual, not to say stereotyped. Such works typically concentrated on Arab, Jewish, and other Semitic cultures, as those were the ones visited by artists as France became more engaged in North Africa. French artists such as Eugène Delacroix, Jean-Léon Gérôme and Jean-Auguste-Dominique Ingres painted many works depicting Islamic culture, often including lounging odalisques. They stressed both lassitude and visual spectacle.

In Holofernes' camp, odalisques perform songs and dances. Holofernes sends them away, intent on his plan to make a full attack on Bethulia the next day. Judith is let into the camp and presented to Holofernes, who is enchanted by her beauty (as are all the Assyrians). When he inquires as to her purpose, she pretends that she will show him a secret way to enter and take Bethulia and Jerusalem as long as he allows her to move freely.

In December 1954, Picasso began to paint a series of free variations on Delacroix's Les Femmes d'Alger. He began his first version (cat. 19) six weeks after learning of the death of his lifelong friend and rival Henri Matisse — and so, for Picasso, the "oriental" subject of this series of paintings held strong associations with Matisse as well as with Delacroix. Matisse had been famous for his images of languid, voluptuous women known as odalisques — the French form of the Turkish word for women in a harem.

She created a series of twelve paintings on the theme of Daphnis and Chloe, completing them in 1913. The same year, she protested against the removal from the Salon d'Automne of Kees van Dongen's The Spanish Shawl, and became friends with van Dongen, setting up her studio near his. In 1913, Francis Picabia displayed Marval's 1903 painting The Odalisques in the Armory Show, an important exhibition of modern art in New York.Brown, Milton W., '’The Story of the Armory Show'’, The Joseph H. Hirshhorn Foundation, 1963, p.

A Reclining Odalisque, painted by Gustave Léonard de Jonghe, c. 1870 W. S. Gilbert refers to the "Grace of an odalisque on a divan" in Colonel Calverley's song "If You Want A Receipt For That Popular Mystery" from the Gilbert and Sullivan opera Patience. In popular use, the word odalisque also may refer to a mistress, concubine or paramour of a wealthy man. During the 19th century, odalisques became common fantasy figures in the artistic movement known as Orientalism, being featured in many erotic paintings from that era.

242 By the 1850s, tourist travel to Egypt created strong demand for photographs as souvenirs. A small group of early photographers, mostly of French origin, made their way to Cairo and the Nile Valley to capitalise on this demand. These pioneering photographers included Félix Bonfils (1831-1885); Gustave Le Gray (1820-1884), brothers Henri and Emile Bechard; the British-Italian brothers Antonio Beato (c. 1832–1906) and Felice Beato and the Greek Zangaki brothers. Jacobson, K., Odalisques and Arabesques: Orientalist Photography, 1839-1925, London, Bernard Quaritch, 2007, p. 277.

With the exposed décolletage, loose unbounded clothing and languid poses, Delacroix's Algerian females are still situated in the European oriental dream. The addition of stereotypical Orientalist motifs, such as the narghile pipe, charcoal burner, and the odalisques pose. Together they create a fictional image that parallels the European fantasy of the harem more than reality. The nineteenth century European viewer's connotations of the "narghile pipe" with smoking hashish or opium, as well as the connotations of the loose unbound clothing to sexual immorality, added to this Western fantasy.

113 Pandrea's text, completed just after Tzara's visit to Romania, claimed that his founding role within the avant-garde was an "illusion [...] which has swelled up like a multicolored balloon", and denounced him as "the Balkan provider of interlope odalisques, [together] with narcotics and a sort of scandalous literature." Himself an adherent to communism, Pandrea grew disillusioned with the ideology, and later became a political prisoner in Communist Romania. Vinea's own grudge probably shows up in his 1964 novel Lunatecii, where Tzara is identifiable as "Dr. Barbu", a thick-hided charlatan.

Sébah was amongst a group of early photographers, who made their way to Cairo and Istanbul to capitalise on this demand. These pioneering photographers included Félix Bonfils (1831-1885); Gustave Le Gray (1820-1884), brothers Henri and Emile Bechard; the British-Italian brothers Antonio Beato (c. 1832–1906) and Felice Beato and the Greek Zangaki brothers. Jacobson, K., Odalisques and Arabesques: Orientalist Photography, 1839-1925, London, Bernard Quaritch, 2007, p. 277. By 1873 Sébah was successful enough to open a second studio in Cairo. He exhibited at Ottoman exhibition in Vienna, Austria in 1873.

At that time, tourist travel to Middle East created strong demand for photographs as souvenirs. The Beato brothers were part of a group of early photographers who made their way to the East to capitalise on this demand. These pioneering photographers included Frenchmen, Félix Bonfils (1831-1885); Gustave Le Gray (1820-1884) and Hippolyte Arnoux, brothers Henri and Emile Bechard and the Greek Zangaki brothers, many of whom were in Egypt at the same time and entered into both formal and informal working partnerships.Jacobson, K., Odalisques and Arabesques: Orientalist Photography, 1839-1925, London, Bernard Quaritch, 2007, p. 277.

Zhurina's recorded works included a number of artists. The first record called Judith (Serov), which was recorded in 1991, included Andrey Chistyakov (conductor), Bolshoi Theatre Orchestra, Russian Academic Choir of the USSR, Irina Udalova (Judith), YElena Zaremba (Avra), Mikhayil Krutikov (Holofernes), Nikolay Vasilyev (Bagoas), Anatoly Babïkhin (Ozias), Vladimir Kudryachov (Achior), Stanislav Suleimanov (Asfaneses), Pyotr Gluboky (Eliachim), Maksim Mikhaylov (Charmis), Irina Zhurina, Marina Shutova (Odalisques) and Lev Kuznetsov (Hindu Song). Rimsky-Korsakov (Kashchey the Deathless), which was also recorded in 1991, included Andrey Chistyakov (conductor), Bolshoi Theatre Orchestra, Yurlov Academic Choir, Aleksandr Arkhipov (Kastchey), Irina Zhurina (Tsarevna), Nina Terentyeva (Kashcheyevna), Vladislav Verestnikov (Ivan Korolevich) and Vladimir Matorin (Storm-Bogatïr).

The narrow corridor on the left side leads to the apartments of the odalisques (white slaves given as a gift to the sultan). Many of the eunuchs’ quarters face this courtyard, which is the first one of the Harem, since they also acted as guards under the command of the Chief Harem Eunuch. The spaces surrounding this courtyard were rebuilt after the great fire of 1665. The complex includes the dormitory of the Harem eunuchs behind the portico, the quarters of the Chief Harem Eunuch (Darüssaade Ağası) and the School of Princes as well as the Gentlemen-in-Waiting of the Sultan (Musahipler Dairesi) and the sentry post next to it.

At three o'clock in the morning, whilst the harem sleep, Dudù screams and awakens agitated, whilst the snoring Juanna continues asleep. The odalisques ask the reason for her screams, and Dudù relates a sexually suggestive dream, of being in a wood, like Dante, of dislodging a golden apple that tenaciously clings to the bough, of almost biting that forbidden fruit, when a bee flies out from the apple and stings her to the heart. The matron of the seraglio decides to place Juanna with another odalisque, but Dudù begs to keep her as companion in her couch. The narrator Byron does not know why Dudù screamed whilst asleep.

The show was unforgettable. With many of the songs influenced by Caribbean rhythms, Latin, Arab and the North Brazil. The opening contained Arab themes like odalisques and Caliphs, then the end of the opening comes guitar introductions, and then Joelma and the dancers begin to dance music Temporal, the show was great excitement and participation of fans. After much shaking and dancing, romantic block come, starting with an act of Joelma and a dancer in music 'Desfaz as Malas, which had a separation scene by the man but the woman struggled to keep that from happening, it was a much discussed part of the show.

These pioneering photographers included Frenchmen, Félix Bonfils (1831-1885); Gustave Le Gray (1820-1884) and Hippolyte Arnoux, brothers Henri and Emile Bechard and the Greek Zangaki brothers, many of whom were in Egypt at the same time and entered into both formal and informal working partnerships.Jacobson, K., Odalisques and Arabesques: Orientalist Photography, 1839-1925, London, Bernard Quaritch, 2007, p. 277. These early photographers, including Antonio and his brother, were among the first commercial photographers to produce images on a large scale in the Middle East. In late 1854 or early 1855, the Beato brothers' sister, Leonilda Maria Matilda Beato, married her brothers' business partner, James Robertson.

Matisse was inspired to paint his Odalisque's by his trip to Morocco in 1912, he argues for the legitimacy of the subject by stating “‘I do Odalisques in order to do nudes. But, how does one do a nude without being artificial? And then I do them because I know they exist. I was in Morocco, I have seen them”Jack Flam, Matisse on Art, (London, 1995), 86. The word “odalisque” is derived from the Turkish word Odalik, which means chambermaid or female harem slave. Matisse would recreate the Moorish interior that he experienced on his trip by decorating parts of his studio with his collections of “oriental” objects such as tapestries, mirrors, ornate screens, decorative wall hangings, and elaborate costumes.

121 Like in the rest of the Ottoman Empire, Greeks had to carry a receipt certifying their payment of jizya at all times or be subject to imprisonment. Most Greeks did not have to serve in the Sultan's army, but the young boys that were taken away and converted to Islam were made to serve in the Ottoman military. In addition, girls were taken in order to serve as odalisques in harems.Madeline C. Zilfi Women and slavery in the late Ottoman Empire Cambridge University Press, 2010 These practices are called the "tribute of children" (devshirmeh) (in Greek παιδομάζωμα paidomazoma, meaning "child gathering"), whereby every Christian community was required to give one son in five to be raised as a Muslim and enrolled in the corps of Janissaries, elite units of the Ottoman army.

Petipa's famous pas de trois from the first scene is still danced today by most companies nearly unchanged, as Petipa usually did when staging a pas de trois classique, having the ballerina who dances the first variation leaving the stage before the end of the Entrée (as in Petipa's Grand Pas de Trois des Odalisques from Le Corsaire, or his Pas de Trois from Paquita). The first dancers to perform the pas de trois in the 1895 revival were Olga Preobrajenskaya, Georgy Kyaksht (famous for creating the role of Harlequin in Petipa's original 1900 Harlequinade), and Varvara Rykhlyakova. According to a press account: "...a captivating Pas de Trois, which is technically difficult, is performed en pointe for the most part with multiple turns, and was excellently performed by the Danseuses and their partner." The Waltz of the first scene or the Valse Champêtre (or the Valse Villageoise) is danced in many different versions by ballet companies today.

Set design by Charles-Antoine Cambon for Act III, Scene 1, in the première production Le Corsaire is a ballet typically presented in three acts, with a libretto originally created by Jules-Henri Vernoy de Saint-Georges loosely based on the poem The Corsair by Lord Byron. Originally choreographed by Joseph Mazilier to the music of Adolphe Adam, it was first presented by the ballet of the Théâtre Impérial de l’Opéra in Paris on 23 January 1856. All modern productions of Le Corsaire are derived from the revivals staged by the Ballet Master Marius Petipa for the Imperial Ballet of St. Petersburg throughout the mid to late 19th century. The ballet has many celebrated passages which are often excerpted from the full-length work and performed independently: the scene Le Jardin animé, the Pas d’esclave, the Pas de trois des odalisques, and the so-called Le Corsaire pas de deux, which is among classical ballet's most famous and performed excerpts.