«I think that attempts to apply the ideas of Sayyid to the analysis of paintings were not very successful - says Tromans. - "Orientalism" in saidovskom meaning of this word is our unwillingness to recognize that people in the East can look at the world "correctly", that their views are natural: according to Western thought, our perception of reality objectively, and they see everything through the prism of religion and conservative culture . But philosophically speaking, we can hardly claim that some visual culture more "natural" than another - they are just different. "

Cover American edition of the book is decorated with reproductions of the works of Said Jerome "charmer", the author's opinion, the picture shows no real manners and customs of the East, and Western stereotypes. Due to the abundance of detail the artist has long been regarded as realistic, in fact, they respond more to the then European myths sensual and brutal Arab world.

Another problem - the unpopularity of academic painting of the XIX century, which is considered to be too "sterile", pompous and generally uninteresting. Can we say that the new trend is dictated by the desire for re-evaluation of this art? Or is it just a reflection of the realities of the art market, where more and more visible role becomes wealthy buyers from the Middle East?

"I have long believed that the painting of the XIX century is ignored completely unfairly - says the curator of the Brussels Exhibition Dideran Roger (Roger Diederen). - Since that time there were many very high quality work. Orientalism attracted artists of all countries, all directions - it's such a rich topic. Their works address the enormous number of problems - social, religious, political, which in our time are extremely acute, and therefore exhibit on Orientalism can not be considered irrelevant. "

And that's what the Pope says Edouard (Edouard Papet), one of the organizers of the exhibition at Orsay: "We're not going to rehabilitate or Jerome, or painting of the XIX century. Yes, he is an academician - although the works created after 1850, this stream not carry. We want to show how he was the creator of stunning images, which was his contemporary paintings. Pope stresses the impact of its "illusion of truth" has to Hollywood - worth only recall the famous movie by Ridley Scott (Ridley Scott) «Gladiator. It is known that the director showed the fine art of Jerome "Dobey it!" Depicting a defeated gladiator and demanding his death spectators. According to Scott, that's when this story caught him.

On the art market painting XIX century became one of the few segments that are not affected by the art-boom 2000's. Index of European art of the XIX Century Art Market Report was in September 2008, 10,099 points (baseline 1014, starting point - 1976). The tenfold increase - relatively modest in comparison with European Impressionists (in October 2008, their index was 26,651 points for the same basic level). It is worth noting that the Orientalists do better: their index in 2007, jumped and reached in October 2010, the peak of 52,524 points (baseline - 920).

"The success of Orientalism is almost entirely dependent on the activity of buyers from the Middle East" - the director of the London gallery Fine Art Society. In his essay about the market Orientalists Nicholas Tromans wrote: "The British imperialists left the Persian Gulf region in 1971, but in their place immediately came to the British art dealers. Thanks to a massive rise in oil prices since 1973 in the Gulf appeared substantial demand for Orientalist painting. And the market is controlled from London. "

In 1980 work on the "east" theme sold very briskly, and in 1990 the market fell silent. Sometimes auction houses hold special thematic auction dedicated to this kind of art. "The market [Orientalist] has always been volatile - a specialist auction house, says Elman, Etienne (Etienne Hellman). - The risk is high enough. " "But at the moment is the most dynamic segment of the market of painting of the XIX century, - the head picture Mathaf Brian McDermott (Brian MacDermot). - Materials to the eastern theme are selling well, but buyers have become more choosy - they are sensibly priced. "

Among the famous customers - a cousin of Qatari Emir Sheikh Hassan Al Thani (Hassan Al-Thani), whose collection is stored in the Museum of Orientalism in Doha (which, however, now closed). Some of the exhibits can be seen on the recently dedicated to the Ottoman Empire exhibition at the local Museum of Islamic Art.

In recent years, is also very noticeable presence in the market of buyers from Turkey and Lebanon. In May 2008, painting by Osman Hamdi Bey (Osman Hamdi Bey) «Lady of Constantinople" brought at Sotheby's over three million pounds. Etienne Elman also notes that the Orientalist paintings are always in demand by Americans.

Below is a list of activities that might interest fans of this trend in art.

Exhibitions

Orientalism in Europe: From Delacroix to Kandinsky. Exhibition Hall of the Cultural Foundation Hypo, Munich, 28 January - 1 May; Centre de la Vieille Charité, Marseille, May 27 - August 28.

Colors of the East: The Art and Life in the Ottoman Empire. Villa Empain, Brussels, until 27 February.

East through the eyes of Christian Lacroix. Museum on the Quai Branly, Paris, February 8 - May 15.

Genius of the East. Museum of Fine Arts, Lyon, April 2 - 4 July.

East of the Italian painting of the XIX century. Pinacoteca de Nittis, Barletta, Italy, 4 May - 5 June.

East: From Delacroix to Matisse. Museum of the Chapel of the Annunciation, St Tropez, July 1 - Oct. 30.

Unknown East Russia: oriental paintings 1850-1920 period. Museum of Groningen, Groningen, the Netherlands, until May 8.

Auctions

Paintings, drawings and watercolors of old masters and artists of the XIX century, Christie's, New York, Jan. 26.

Art Orientalism. Impressions of the Middle East and North Africa. Bonhams, Dubai, April 13.

Section Orientalism, auction paintings of the XIX century, Sotheby's, London, May 18.
The material was prepared Yulia Maksimova
http://artinvestment.ru/news/auctnew...ientalism.html

The works that can be seen in the Gallery at Solianke were collected by one of the leading local curators Zelfira Tregulova. It's 55 paintings and drawings 1930-1950, which were established in Central Asia, and talk about it .. One room is the schedule, in two others - painting: vivid, gravitating to the vanguard and the national decoration, and more intimate, going back to the traditions of Russian school of art, impressionism and fine design.

But this exhibition is not an anthology of art of Central Asia, but rather a study of gaps monolithic totalitarian situation. One of these zones, where the art could develop, was Central Asia. This is a poor region has covered in his hot hands alternative art search, and a slow time of the East artists granted a comfortable feeling of eternity.
What tells us carefully constructed Zelfira Tregulova exposure? The fact that the miracle of art has always done in space, immanent art, and solving their own problems, the art experiences of their creators, and engaging in aesthetic care regime ceases to exist. The fact that the artist usually prefers to draw rather than to struggle with the regime, and that the artist needs a government and not vice versa. However, there is no doubt that without the freedom of art does not live that dictatorship is ruining the art and under the dictates of the ideology of work as any dictated text into a document, sometimes not without certain advantages of plastic.
Before us is an exhibition of artwork of the Stalin era (the main bulk of work falls on the 1930 and 1940). The exception - the most recent work is slowly changing Paul Saltzman - a decade knocked abroad 1953, the year of death tyrant. And so indicate on the ability of the student Filonov honor of the teacher in any mode and at any age. This exception only emphasizes expository vnepolozhennost artist outside world. The longer we look at the exposure, the greater the erosion are stereotypes of the era and Soviet art. We see the highest pictorial culture of artists, which indiscriminately called "Soviet" or "masters of socialist realism." The exposition demonstrates the heterogeneity of the Soviet empire - on the part of the Party in the art of Central Asia is as a form of artistic expatriates.
In the situation of the market relevance of identical market success. But in an ideological society, the relevance of art is built in other coordinates - the relevance of internal communication of a closed community. Central Asia was due to its remoteness and the ethnographic specifics of the place secret life of art - out of power, ideology, the dominant style, landing a totalitarian CX RSFSR. Artists have found a zone of freedom in a tough situation, broken a lot of talent. Their art, shown Zelfira Tregulova can be considered a return of authenticity.

Source:
http://artinvestment.ru/news/exhibit...ra_buhara.html

Gallery shows the viewer the most valuable and expensive (in market terms) during Kuznetsova, are involved in the preparation of eight exhibitions of private collections and the Ryazan Art Museum
".... Fabrics come from the collection of the former diplomat Tair Tairov, which is not without reason, believes that exotic patterns have a direct impact on the early European avant-garde. And, indeed, "Journey to Asia" can be read as a novel of education of this modernist, because for Kuznetsova meeting with the East was no less strong bridge to modernity than African masks - for Picasso. From the dreamy symbolist, author of the infinite "Fountain" Kuznetsov transformed into Asian things in the avant-garde in the spirit of "Jack of Diamonds", following the discoveries of plastic Natalia Goncharova and Mikhail Larionov ...."

-----------------------------------------------
ps Collection Tairov (gowns, fabrics, rugs small items from the 19 th century Central Asia), is considered one of the best in the world, in Russia the best ..

During the creation of works on Oriental themes are fully disclosed coloristic gift of the artist. Daily Life East Street becomes Saryan basis scenic discoveries.
"I have lived in Istanbul for almost two months and during this time worked well - says Saryan. - The biggest concern for me represented the street, the rhythm of her life, a bright crowd and dogs ... living here entire family packs. " ("From My Life", p.102). During this period, Saryan wrote exclusively in tempera on a white dense cardboard, summarizing each film their most vivid impressions. "... When something failed, I again went to the same area to deepen their impressions, getting a new momentum for self ... before me there was a problem - perhaps more clear and concise to pass on a cardboard scorching heat of sunlight and the related contrast of colors . ("From My Life", pp. 102). Trying to recreate real life unfolding East, Saryan increases the scale of their songs, which builds on the same plane. The scope and depth is achieved by contrasting blue shadows that accompany smooth sailing for the orange-yellow street figures of women in the burqa or the bevy of dogs acquiring incredible color shades in the light of a glowing sun.
On his return from Constantinople Saryan presented his new works at the exhibition "Moscow Association of Artists." Painting "Wisteria", "fruit shop" and then "Street. Noon "were purchased Tretyakov Gallery. This was the first time acquired a gallery of young artist-innovator. Saryan's paintings exhibited in Rome in the autumn of 1911, aroused a great interest in art circles.
Trip to Egypt enriched creativity Saryan new works, which became a vivid expression of his distinctive style. In Egypt, the artist most impressed inextricable link ancient culture with modernity. "When you exit the Bulak museum can be seen here on the street, people who like and were the artist's model, from which the carved sculptures exhibited in the museum. They have the same type face, the gestures, the way to go with raised shoulders ... It was as if they went straight from the depths of millennia ... and these people come right in today with the wonderful monument, erected by their ancestors at the dawn of human civilization. " ("From My Life", pp. 120).
The idea of eternity and immortality of the spirit, embodied in Egyptian art, was consonant with the worldview Saryan, who believed deeply in what a person does not die, for he is - by nature. Masks, brought an artist from Egypt, became a symbol of his creative spirit of eternal life.
In 1912, Saryan again sent to Armenia, this time in the north-west of its areas (Ardanuch, Ardwyn, Ardahan). Here, in contrast to the Yellow Sea, the Egyptian desert, where the contrasts of green and blue were especially harsh, the artist's eye caught a softer, muted ratio typical for the area of paint. Pictures of the Mount Abul and passing camels "(National Gallery of Armenia)," Seller greens "," Morning. Green Mountains, and others represent new thematic and coloristic experiments of the artist.
One of the paintings on the theme of Constantinople in 1912, participated in the second post-impressionist exhibition in the Grafton Gallery in London.
In 1913, Saryan traveled to Persia. The most interesting place for artists was the city bazaar. Here it was possible obs? Yudat rhythm of life? This colorful country, where people seemed to be frozen for a moment under the influence of a hookah. But work on the site Saryan was not always possible. Attracted the attention of the artist as a book illustrated? Spectra recorded miniatures. Incorporating experiences about life and culture? this country, the artist has created several composite? Persian paintings on the theme already in his Moscow studio.
"Sarian only at the beginning of the creative implementation. But the fact that he has given so far, it is extremely important because it puts a new face in our beautiful on the East and shows that heartless ... Orientalism ended "- wrote a famous poet and critic Voloshin in the first major critique of Saryan placed in 1913 in Apollo, the most authoritative art magazine Russia in those years.
("On Saryan, p.63-64).

The works that can be seen in the Gallery at Solianke were collected by one of the leading local curators Zelfira Tregulova. It's 55 paintings and drawings 1930-1950, which were established in Central Asia, and talk about it .. One room is the schedule, in two others - painting: vivid, gravitating to the vanguard and the national decoration, and more intimate, going back to the traditions of Russian school of art, impressionism and fine design.

But this exhibition is not an anthology of art of Central Asia, but rather a study of gaps monolithic totalitarian situation. One of these zones, where the art could develop, was Central Asia. This is a poor region has covered in his hot hands alternative art search, and a slow time of the East artists granted a comfortable feeling of eternity.
What tells us carefully constructed Zelfira Tregulova exposure? The fact that the miracle of art has always done in space, immanent art, and solving their own problems, the art experiences of their creators, and engaging in aesthetic care regime ceases to exist. The fact that the artist usually prefers to draw rather than to struggle with the regime, and that the artist needs a government and not vice versa. However, there is no doubt that without the freedom of art does not live that dictatorship is ruining the art and under the dictates of the ideology of work as any dictated text into a document, sometimes not without certain advantages of plastic.
Before us is an exhibition of artwork of the Stalin era (the main bulk of work falls on the 1930 and 1940). The exception - the most recent work is slowly changing Paul Saltzman - a decade knocked abroad 1953, the year of death tyrant. And so indicate on the ability of the student Filonov honor of the teacher in any mode and at any age. This exception only emphasizes expository vnepolozhennost artist outside world. The longer we look at the exposure, the greater the erosion are stereotypes of the era and Soviet art. We see the highest pictorial culture of artists, which indiscriminately called "Soviet" or "masters of socialist realism." The exposition demonstrates the heterogeneity of the Soviet empire - on the part of the Party in the art of Central Asia is as a form of artistic expatriates.
In the situation of the market relevance of identical market success. But in an ideological society, the relevance of art is built in other coordinates - the relevance of internal communication of a closed community. Central Asia was due to its remoteness and the ethnographic specifics of the place secret life of art - out of power, ideology, the dominant style, landing a totalitarian CX RSFSR. Artists have found a zone of freedom in a tough situation, broken a lot of talent. Their art, shown Zelfira Tregulova can be considered a return of authenticity.

Source:
http://artinvestment.ru/news/exhibit...ra_buhara.html

Gallery shows the viewer the most valuable and expensive (in market terms) during Kuznetsova, are involved in the preparation of eight exhibitions of private collections and the Ryazan Art Museum
".... Fabrics come from the collection of the former diplomat Tair Tairov, which is not without reason, believes that exotic patterns have a direct impact on the early European avant-garde. And, indeed, "Journey to Asia" can be read as a novel of education of this modernist, because for Kuznetsova meeting with the East was no less strong bridge to modernity than African masks - for Picasso. From the dreamy symbolist, author of the infinite "Fountain" Kuznetsov transformed into Asian things in the avant-garde in the spirit of "Jack of Diamonds", following the discoveries of plastic Natalia Goncharova and Mikhail Larionov ...."

-----------------------------------------------
ps Collection Tairov (gowns, fabrics, rugs small items from the 19 th century Central Asia), is considered one of the best in the world, in Russia the best ..

During the creation of works on Oriental themes are fully disclosed coloristic gift of the artist. Daily Life East Street becomes Saryan basis scenic discoveries.
"I have lived in Istanbul for almost two months and during this time worked well - says Saryan. - The biggest concern for me represented the street, the rhythm of her life, a bright crowd and dogs ... living here entire family packs. " ("From My Life", p.102). During this period, Saryan wrote exclusively in tempera on a white dense cardboard, summarizing each film their most vivid impressions. "... When something failed, I again went to the same area to deepen their impressions, getting a new momentum for self ... before me there was a problem - perhaps more clear and concise to pass on a cardboard scorching heat of sunlight and the related contrast of colors . ("From My Life", pp. 102). Trying to recreate real life unfolding East, Saryan increases the scale of their songs, which builds on the same plane. The scope and depth is achieved by contrasting blue shadows that accompany smooth sailing for the orange-yellow street figures of women in the burqa or the bevy of dogs acquiring incredible color shades in the light of a glowing sun.
On his return from Constantinople Saryan presented his new works at the exhibition "Moscow Association of Artists." Painting "Wisteria", "fruit shop" and then "Street. Noon "were purchased Tretyakov Gallery. This was the first time acquired a gallery of young artist-innovator. Saryan's paintings exhibited in Rome in the autumn of 1911, aroused a great interest in art circles.
Trip to Egypt enriched creativity Saryan new works, which became a vivid expression of his distinctive style. In Egypt, the artist most impressed inextricable link ancient culture with modernity. "When you exit the Bulak museum can be seen here on the street, people who like and were the artist's model, from which the carved sculptures exhibited in the museum. They have the same type face, the gestures, the way to go with raised shoulders ... It was as if they went straight from the depths of millennia ... and these people come right in today with the wonderful monument, erected by their ancestors at the dawn of human civilization. " ("From My Life", pp. 120).
The idea of eternity and immortality of the spirit, embodied in Egyptian art, was consonant with the worldview Saryan, who believed deeply in what a person does not die, for he is - by nature. Masks, brought an artist from Egypt, became a symbol of his creative spirit of eternal life.
In 1912, Saryan again sent to Armenia, this time in the north-west of its areas (Ardanuch, Ardwyn, Ardahan). Here, in contrast to the Yellow Sea, the Egyptian desert, where the contrasts of green and blue were especially harsh, the artist's eye caught a softer, muted ratio typical for the area of paint. Pictures of the Mount Abul and passing camels "(National Gallery of Armenia)," Seller greens "," Morning. Green Mountains, and others represent new thematic and coloristic experiments of the artist.
One of the paintings on the theme of Constantinople in 1912, participated in the second post-impressionist exhibition in the Grafton Gallery in London.
In 1913, Saryan traveled to Persia. The most interesting place for artists was the city bazaar. It was possible to observe the rhythm of life? This colorful country, where people seemed to be frozen for a moment under the influence of a hookah. But work on the site Saryan was not always possible. Also attracted the attention of the artist's book, illustrated with miniatures. Incorporating experiences about life and culture? this country, the artist has created several composite? Persian paintings on the theme already in his Moscow studio.
"Sarian only at the beginning of the creative implementation. But the fact that he has given so far, it is extremely important because it puts a new face in our beautiful on the East and shows that heartless ... Orientalism ended "- wrote a famous poet and critic Voloshin in the first major critique of Saryan placed in 1913 in Apollo, the most authoritative art magazine Russia in those years.
("On Saryan, p.63-64).

At the end of 1868 the artist went to Petersburg, thence to Paris and then back to St. Petersburg. In 1869, he organized with the assistance of Kaufman in the capital "Turkestan exhibition, where show their work. After the exhibition Vereshchagin again went to Turkestan, this time by way of Siberia.
In 1871, Vereshchagin moved to Munich and began work on the paintings of oriental subjects. In 1873, he held a solo exhibition of his works Turkestan at the Crystal Palace in London. In the spring of 1874 will be an exhibition in St. Petersburg. He then almost two years living in India, leaving in Tibet. In the spring of 1876 the artist returned to Paris.

Learning in the spring of 1877 about the beginning of Russian-Turkish war, he immediately sent to the army, leaving his studio in Paris. Command classifies his chief aides to the composition of the army of the Danube, with the right of free movement for troops, but without official government content. The artist is involved in some battles. In June 1877 he is badly wounded.
In 1882-1883, he again travels to India. In 1884 he went to Syria and Palestine, and then paints scenes from the Gospels.
In 1901 the artist visited the Philippine Islands in 1902 - the U.S. and Cuba, in 1903 - Japan.
When the Russian-Japanese war, Vereshchagin went to the front. He was killed at the Battle of Port Arthur in an explosion on the battleship "Petropavlovsk" 31 March 1904 together with the Admiral Makarov