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Lania Atkins - 2016 Prix de Lausanne selections - classical variation
Le Corsaire-Pas De Trois Des Odalisques (Bolshoi Ballet 2007)
Transcription
(piano music)
>> Male: We're at the Musee du Louvre,
and we're looking at Ingres' "Grande Odalisque."
What's interesting is that this painting was originally commissioned.
Ingres was hired to paint it by the sister of Napoleon,
who, at that time, was married to the king of Naples.
What's also interesting is that by the time
Ingres finished the painting and delivered it,
well, they were gone.
Napoleon had been deposed,
and they were no longer really Naples.
>> Female: But this did get shown in the Salon of 1819, nevertheless.
>> Male: And caused a real scandal.
>> Female: For a number of reasons.
First of all, it's a female nude,
and it's not Venus.
It's an odalisque.
An odalisque is a woman in a harem.
Now of course, Ingres had never been in a harem,
and so this is very much a Western idea
of what a harem would be like.
>> Male: OK, so I think that's really important
because historically, this is completely inaccurate.
>> Female: Right.
>> Male: But it is very much a 19th century French construction
of what they imagined that luxury-laden,
sensuous, and distant experience was.
>> Female: Yes, it's a real French fantasy.
>> Male: It is a real French fantasy.
France, of course, was a colonial power in that part of the world,
and some art historians have written that in some ways,
these sorts of paintings were a justification for France
in that part of the world.
>> Female: And for France, imagining itself as superior
to that culture.
>> Male: And therefore having a moral right to civilize,
so it is very imperialist in its thinking.
>> Female: But at the same time, as we're saying that,
we have to imagine the Parisians in 1819
taking pleasure in looking at this odalisque.
>> Male: Quite a bit of pleasure,
and we see the same pleasure
in the viewers in the Louvre right now.
It is this voluptuous and very sensuous expression
of the human body,
one that is heightened because
although Ingres comes out of the Neo-Classical tradition,
was a student of David's.
He is also this important bridge to Romanticism,
but in this particular rendering,
Ingres has taken the fidelity to anatomy as secondary.
What's most important to him is the sensuality of the figure.
For instance, he's extended the back.
One might even argue there are extra vertebrae.
He has placed her left leg in a sort of impossible position.
If one imagines where that leg would connect with the hip,
it doesn't quite work in relationship to the other hip.
And so there is a languidness that he is able to achieve
that would be impossible with a kind of anatomical accuracy.
>> Female: And there is a kind of tension, I think,
between sensuality and a distance that Ingres puts
between us and the figure.
>> Male: I think that's a really important point.
We do see her back, but she turns back towards us,
but that look is an icy, aloof, and distant look.
>> Female: It's hardly inviting.
>> Male: No, it is hardly inviting.
There is the direct eye contact,
and yet there is distance.
There's always that conflict in this painting.
I think that's exactly right.
>> Female: The other thing is that the sensuality of the interior,
in some ways, really competes,
at least for me, with the nude female figure.
That velvet of the cushion that she is on,
I can feel those things.
>> Male: You can almost hear her skin against those fabrics.
>> Female: Yes.
>> Male: It's so interesting.
If you look at the composition,
the frame is actually quite long, like her body is,
but she almost doesn't fit.
That is to say, she literally comes close to touching
all four edges of this canvas.
>> Female: So we see in this odalisque
an image that is very much what we would consider Romanticism,
an interest in the exotic ...
>> Male: Sensuality.
>> Female: And a kind of sensuality.
Although he seems to be the standard-bearer
for the academic tradition,
he doesn't really uphold that 100% in his work.
>> Male: It's interesting because he comes out of the Neo-classical,
and he's got that precision and that sense of
the morality of painting, but then ...
>> Female: And the interest in line and ...
>> Male: But then he is a sensualist in his painting, in fact,
and that's something that ebbs and flows
but is with him for his entire career.
(piano music)
The word "odalisque" is French in form and originates from the Turkishodalık, meaning "chambermaid", from oda, "chamber" or "room". It can also be transliteratedodahlic, odalisk, and odaliq.
Joan DelPlato has described the term's shift in meaning from Turkish to English and French:
The English and French term odalisque (rarely odalique) derives from the Turkish 'oda', meaning "chamber"; thus an odalisque originally meant a chamber girl or attendant. In western usage, the term has come to refer specifically to the harem concubine. By the eighteenth century the term odalisque referred to the eroticized artistic genre in which a nominally eastern woman lies on her side on display for the spectator.[1]
Origin as the Turkish odalık
An odalik was a maid that tended to the harem, but she could eventually become a concubine. She was ranked at the bottom of the social stratification of a harem, serving not the man of the household, but rather, his concubines and wives as their personal chambermaid. Odalıklar were usually slaves given as gifts to the sultan by wealthy Turkish men. Generally, an odalık was never seen by the sultan but instead remained under the direct supervision of his mother, the Valide Sultan.
If an odalık was of extraordinary beauty or had exceptional talents in dancing or singing, she would be trained as a possible concubine. If selected, an odalık trained as a court lady would serve the sultan sexually and only after such sexual contact would she change in status, becoming thenceforth one of the consorts of the sultan.
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.
By the later 19th century, Turkish writers such as Melek Hanum used the word odalisque to refer to slave-concubines when writing in English:
If any lady possesses a pretty-looking slave, the fact soon gets known. The gentlemen who wish to buy an odalisque or a wife, make their offers. Many Turks, indeed, prefer to take a slave as a wife, as, in such case, there is no need to dread fathers, mothers, or brothers-in-law, and other undesirable relations.[2]
In 2011, the Law Society of British Columbia brought a disciplinary hearing against an unnamed lawyer for referring to another lawyer's client as living with an odalisque. The Law Society found that the word's use, though an extremely poor choice, did not rise to the level of professional misconduct.[3]
^DelPlato, Joan (2002). Multiple Wives, Multiple Pleasures: Representing the Harem, 1800–1875. Fairleigh Dickinson University Press. p. 9. ISBN0838638805.
^Hanum, Melek (1872). Thirty years in the harem. Chapman and Hall. p. 159.
Media related to Category:Odalisques at Wikimedia Commons
This page was last edited on 27 December 2020, at 22:23