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Chinoiserie is the catch-all term for the fashion for Chinese themes in decoration in Western Europe, beginning in the late 17th century and peaking in waves, especially Rococo Chinoiserie, c.

From the Renaissance to the 18th century, Western designers attempted to imitate the technical sophistication of Chinese ceramics with only partial success.

Early hints of Chinoiserie appeared in the 17th century in nations with active East India companies: Tin-glazed pottery made at Delft and other Dutch towns adopted genuine Ming -era blue and white porcelain from the early 17th century. Early ceramic wares made at Meissen and other centers of true porcelain imitated Chinese shapes for dishes, vases and teawares see Chinese export porcelain.

Pleasure pavilions in "Chinese taste" appeared in the formal parterres of late Baroque and Rococo German palaces, and in tile panels at Aranjuez near Madrid. Thomas Chippendale 's mahogany tea tables and china cabinets, especially, were embellished with fretwork glazing and railings, c. Sober homages to early Xing scholars' furnishings were also naturalized, as the tang evolved into a mid-Georgian side table and squared slat-back armchairs that suited English gentlemen as well as Chinese scholars.

Not every adaptation of Chinese design principles falls within mainstream "chinoiserie". Small pagodas appeared on chimneypieces and full-sized ones in gardens.

Kew has a magnificent garden pagoda designed by William Chambers. The Wilhelma in Stuttgart is an example of Moorish Revival architecture. Leighton House , built for the artist Frederic Leighton , has a conventional facade but elaborate Arab-style interiors, including original Islamic tiles and other elements as well as Victorian Orientalizing work. After , Japonism , sparked by the importing of ukiyo-e , became an important influence in the western arts. Mary Cassatt , an American artist who worked in France, used elements of combined patterns, flat planes and shifting perspective of Japanese prints in her own images.

California architects Greene and Greene were inspired by Japanese elements in their design of the Gamble House and other buildings. Egyptian Revival architecture became popular in the early and midth century and continued as a minor style into the early 20th century.

Moorish Revival architecture began in the early 19th century in the German states and was particularly popular for building synagogues. Indo-Saracenic Revival architecture was a genre that arose in the late 19th century in the British Raj. In Biblical scenes in Early Netherlandish painting , secondary figures, especially Romans, were given exotic costumes that distantly reflected the clothes of the Near East.

The Three Magi in Nativity scenes were an especial focus for this. In general art with Biblical settings would not be considered as Orientalist except where contemporary or historicist Middle Eastern detail or settings is a feature of works, as with some paintings by Gentile Bellini and others, and a number of 19th century works.

Renaissance Venice had a phase of particular interest in depictions of the Ottoman Empire in painting and prints. Gentile Bellini, who travelled to Constantinople and painted the Sultan, and Vittore Carpaccio were the leading painters. By then the depictions were more accurate, with men typically dressed all in white. The depiction of Oriental carpets in Renaissance painting sometimes draws from Orientalist interest, but more often just reflects the prestige these expensive objects had in the period.

The ambitious Scottish 18th-century artist Gavin Hamilton found a solution to the problem of using modern dress, considered unheroic and inelegant, in history painting by using Middle Eastern settings with Europeans wearing local costume, as travelers were advised to do.

His huge James Dawkins and Robert Wood Discovering the Ruins of Palmyra , now Edinburgh elevates tourism to the heroic, with the two travelers wearing what look very like togas. Many travelers had themselves painted in exotic Eastern dress on their return, including Lord Byron , as did many who had never left Europe, including Madame de Pompadour. French Orientalist painting was transformed by Napoleon 's ultimately unsuccessful invasion of Egypt and Syria in —, which stimulated great public interest in Egyptology , and was also recorded in subsequent years by Napoleon's court painters, especially Antoine-Jean Gros , although the Middle Eastern campaign was not one on which he accompanied the army.

Two of his most successful paintings, Bonaparte Visiting the Plague Victims of Jaffa and Battle of Abukir focus on the Emperor, as he was by then, but include many Egyptian figures, as does the less effective Napoleon at the Battle of the Pyramids Greece was still fighting for independence from the Ottomans, and was effectively as exotic as the more Near Eastern parts of the empire.

Delacroix followed up with Greece on the Ruins of Missolonghi , commemorating a siege of the previous year, and The Death of Sardanapalus , inspired by Lord Byron , which although set in antiquity has been credited with beginning the mixture of sex, violence, lassitude and exoticism which runs through much French Orientalist painting.

He was greatly struck by what he saw, comparing the North African way of life to that of the Ancient Romans, and continued to paint subjects from his trip on his return to France. Like many later Orientalist painters, he was frustrated by the difficulty of sketching women, and many of his scenes featured Jews or warriors on horses. However, he was apparently able to get into the women's' quarters or harem of a house to sketch what became Women of Algiers ; few later harem scenes had this claim to authenticity.

More open sensuality was seen as acceptable in the exotic Orient. In many of these works, they portrayed the Orient as exotic, colorful and sensual, not to say stereotyped. Such works typically concentrated on Arab, Hebraic, and other Semitic cultures, as those were the ones visited by artists as France became more engaged in North Africa.

They stressed both lassitude and visual spectacle. Other scenes, especially in genre painting , have been seen as either closely comparable to their equivalents set in modern-day or historical Europe, or as also reflecting an Orientalist mind-set in the Saidian sense of the term.

Though British political interest in the territories of the unravelling Ottoman Empire was as intense as in France, it was mostly more discreetly exercised.

The origins of British Orientalist 19th-century painting owe more to religion than military conquest or the search for plausible locations for naked women. The leading British genre painter , Sir David Wilkie was 55 when he travelled to Istanbul and Jerusalem in , dying off Gibraltar during the return voyage. Though not noted as a religious painter, Wilkie made the trip with a Protestant agenda to reform religious painting, as he believed that: He hoped to find more authentic settings and decor for Biblical subjects at their original location, though his death prevented more than studies being made.

Other artists including the Pre-Raphaelite William Holman Hunt and David Roberts had similar motivations, [33] giving an emphasis on realism in British Orientalist art from the start. William Holman Hunt produced a number of major paintings of Biblical subjects drawing on his Middle Eastern travels, improvising variants of contemporary Arab costume and furnishings to avoid specifically Islamic styles, and also some landscapes and genre subjects.

The Miracle of the Holy Fire was intended as a picturesque satire on the local Eastern Christians, of whom, like most English visitors, Hunt took a very dim view. Similar strains of fascination and repulsion convulsed their artists" [37] Nonetheless, nudity and violence are more evident in British paintings set in the ancient world, and "the iconography of the odalisque John Frederick Lewis , who lived for several years in a traditional mansion in Cairo , painted highly detailed works showing both realistic genre scenes of Middle Eastern life and more idealized scenes in upper class Egyptian interiors with no traces of Western cultural influence yet apparent.

He "never painted a nude", and his wife modelled for several of his harem scenes, [38] which, with the rare examples by the classicist painter Lord Leighton , imagine "the harem as a place of almost English domesticity, Fernand Cormon , The Deposed Favourite , Ferdinand Max Bredt — Turkish ladies John Frederick Lewis , The Reception , Other artists concentrated on landscape painting , often of desert scenes, including Richard Dadd and Edward Lear.

David Roberts — produced architectural and landscape views, many of antiquities , and published very successful books of lithographs from them.

Russian Orientalist art was largely concerned with the areas of Central Asia that Russia was conquering during the century, and also in historical painting with the Mongols who had dominated Russia for much of the Middle Ages, who were rarely shown in a good light. Nationalist historical painting in Central Europe and the Balkans dwelt on Turkish oppression, with battle scenes and maidens about to be raped.

The Saidian analysis has not prevented a strong revival of interest in, and collecting of, 19th century Orientalist works since the s, the latter was in large part led by Middle Eastern buyers. Authors and composers are not commonly referred to as "Orientalist" in the way that artists are, and relatively few specialized in Oriental topics or styles, or are even best known for their works including them.

But many major figures, from Mozart to Flaubert, have produced significant works with Oriental subjects or treatments. Lord Byron with his four long "Turkish tales" in poetry, is one of the most important writers to make exotic fantasy Oriental settings a significant theme in the literature of Romanticism. Verdi's opera Aida is set in Egypt as portrayed through the content and the visual spectacle.

Irish Orientalism had a particular character, drawing on various beliefs about early historical links between Ireland and the East, few of which are now regarded as historically correct.

The mythical Milesians are one example of this. The Irish were also conscious of the views of other nations seeing them as comparably backward to the East, and Europe's "backyard Orient". In music, Orientalism may be applied to styles occurring in different periods, such as the alla Turca , used by multiple composers including Mozart and Beethoven.

Nonetheless, Taruskin characterizes Orientalism in Romantic Russian music as having melodies "full of close little ornaments and melismas", [46] chromatic accompanying lines, drone bass [47] —characteristics which were used by Glinka , Balakirev , Borodin , Rimsky-Korsakov , Lyapunov , and Rachmaninov. These musical characteristics evoke "not just the East, but the seductive East that emasculates, enslaves, renders passive.

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