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In nineteen century painting, Ingres was considered the foremost exponent of
Ingres' work is notable for the perfection of his modeled figures and for the virtuosity of his portraits. His often-quoted conviction was
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The antithesis to Neoclassicism was
Delacroix's use of expressive brushstrokes (an anathema to Ingres who abhorred visible brushstrokes) and his study of the optical effects of color, profoundly influence the work of the Impressionists. His art emphasized color and movement to capture drama and emotion as opposed to the Neo-classicists which sought aesthetic perfection through the clarity of outline and carefully modeled form.
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I was revisiting some of these artist's masterpieces during the time my friend
Over coffee one beautiful sunny summer afternoon, Cindy regaled me with stories of her Egyptian trip with stops at all the most renowned archaeological sites. A die-hard romantic (she loves romance novels), she expressed nostalgia for the long-gone days of exotic travels along the Nile. On previous occasions we had talked about doing her portrait, so I suggested that we do a
She loved the idea and, after posing for reference photographs, I set out to make a small oil painting of Cindy (tiny by comparison to the large canvases of Ingres and Delacroix) in an
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Then I painted Cindy in the foreground, lying on a Turkish bed, comfortably resting on cushions, leisurely studying a book. She is dressed in the costume of an odalisque, a Tambur (Ottoman mandolin) and a fan next to her (it is warm); food and accoutrements within easy reach. Lighted candles suggest she is ready for an evening of quite relaxation as the rays of setting sun shine on the pyramids.
I posed Cindy starring right at the viewer, a suggestive smile making him (or her) a welcomed voyeur into her private world -a forbidden world. She is an odalisque, a girl of the Harem, the enclosed quarters of the Turkish Ottoman Empire household forbidden to men. But an odalisque was not a concubine of the harem (though she could become one) but rather a virgin female slave, or lowly chambermaid, that had exceptional beauty or talents in dancing or singing, and would be trained as a possible concubine to the Sultan.
I incorporated all this in the painting. And, I also included a final commentary. If one where to turn the painting upside down and look at the page of the book she is contemplating, you might perceive a page of the Kama Sutra, the ancient India book of love that had been translated into English by the Victorian adventurer, scholar and linguist
I posed Cindy starring right at the viewer, a suggestive smile making him (or her) a welcomed voyeur into her private world –a forbidden world. She is an odalisque, a girl of the Harem, the enclosed quarters of the Turkish Ottoman Empire household forbidden to men. But an odalisque was not a concubine of the harem (though she could become one) but rather a virgin female slave, or lowly chambermaid, that had exceptional beauty or talents in dancing or singing, and would be trained as a possible concubine to the Sultan.
In making this painting I combined both Ingres' and Delacroix styles. I used the bold coloring, accentuated lighting, movement and dramatic flair of Delacroix, but I also used the "brushless" modelling and careful outlined composition of Ingres. This was a fun painting to do and several ladies have written to me about it (some wanted a copy of the image). I guess we all have a touch of the exotic and the romantic in us and this is the attraction. But as an artist I simply enjoy the drama and the sensual aspect of the piece, which I find more interesting and exciting than simply painting nudes.