Orient in Western Art Perfect Paperback – 15 May 2009
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"The colour of the Orient, the smell of the Orient, its remoteness, its mystery, its glory. Another life, another dream of a life." Georges Clairin (1843-1919)" --This text refers to an out of print or unavailable edition of this title.
About the Author
Gerard-Georges Lemaire was born in 1948 in Paris. He studied at the Institut d'histoire de l'art and at the Ecole Pratique des Hautes Etudes. In 1974, Lemaire, an author, historian and art critic, translator and journalist, founded the "Connexions" collection at the French publishers Flammarion, in addition to founding the "Les derniers mots" collection at the publisher Christian bourgeois, for whom he also managed the magazine L'Ennemi from 1980-1996. At present, Lemaire is chief editor of the art and literature magazine Verso and is also responsible for the "arts" section of the cultural magazine Les Lettres francaises. --This text refers to an out of print or unavailable edition of this title.
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Top Customer Reviews
An excellent and varied selection of paintings that leaves you craving for more. I thouroughly enjoyed looking at it and reading it, and I know I will continue to do so in the future.
Most Helpful Customer Reviews on Amazon.com (beta)
Lemaire's "The Orient in Western Art" is also a great book. My copy is 360 pages long and is brimming over with beautiful paintings. Along with the captivating images, Lemaire also provides a well written account of the rise in Orientalism in Western Art. This book is reasonably priced and the only recommendation I would make is to purchase the hardback edition. If you are new to Orientalism, this book will inspire you to purchase even more art books on this rich subject. Highly recommended.
Usually, orientalist art books, especially hardcover, are rather expensive. My copy is a paperback and is reasonably priced. If you are a fan of orientalist art, or if you would like to know and learn about it, this is a good book to buy.
The book opens with a Preface by Geneviève Lacambre, known for her writing s about French art, especially that of Gustave Moreau, Jules Flandrin, and Manet. She sets the tone of the subject in an historical context. Lemaire then presents the influence of the Ottoman Empire on the painters of the 18th and 19th centuries, and while he does not delve deeply into the reasons that the Orientalists limited their exploration of the Orient to the Near East and Middle East, his selected artists and examples delve deeply into the obsession with Turkish harems an Egyptian marketplaces and the usual sites that fascinated the artists of the day.
The book, and in fact the concept of Orientalism, is Eurocentric an very little attention is paid to the influence of the art of Japan and China on the artists discussed in this book. For that information the reader must resort to other books. But the titles of the chapters indicate the extent of the survey to follow: Orientalism from the 15th to the 17th century, Orientalism in the 18th Century, Orientalism in the19th century, and Orientalism Today. And while the reproductions are not of the highest caliber they are at east plentiful and fine enough to capture the flavor to the topic. This is a reliable resource book, worthy of the attention of painters and art historians and students. Grady Harp, November 11