Orientalist Aesthetics: Art, Colonialism, and French North Africa, 1880-1930 (Ahmanson-Murphy Fine Arts Book) Review

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Orientalist Aesthetics: Art, Colonialism, and French North Africa, 1880-1930 (Ahmanson-Murphy Fine Arts Book) ReviewAn impressive overview of French Orientalist painting and the conditions which produced it, combining a high degree of scholarship with excellent readability. The text introduced me to artists of whom I was completely unaware, and to unknown Orientalist works by well-known artists. I found the sections on Art Nouveau and 20th Century artists particularly interesting, and the coverage of the two selected North African artists working within the Western tradition even more so. Congratulations to Mr Benjamin on such an incisive, scholarly and useful work.Orientalist Aesthetics: Art, Colonialism, and French North Africa, 1880-1930 (Ahmanson-Murphy Fine Arts Book) OverviewLavishly illustrated with exotic images ranging from Renoir's forgotten Algerian oeuvre to the abstract vision of Matisse's Morocco and beyond, this book is the first history of Orientalist art during the period of high modernism. Roger Benjamin, drawing on a decade of research in untapped archives, introduces many unfamiliar paintings, posters, miniatures, and panoramas and discovers an art movement closely bound to French colonial expansion. Orientalist Aesthetics approaches the visual culture of exoticism by ranging across the decorative arts, colonial museums, traveling scholarships, and art criticism in the Salons of Paris and Algiers. Benjamin's rediscovery of the important Society of French Orientalist Painters provides a critical context for understanding a lush body of work, including that of indigenous Algerian artists never before discussed in English. The painter-critic Eugène Fromentin tackled the unfamiliar atmospheric conditions of the desert, Etienne Dinet sought a more truthful mode of ethnographic painting by converting to Islam, and Mohammed Racim melded the Persian miniature with Western perspective. Benjamin considers armchair Orientalists concocting dreams from studio bric-à-brac, naturalists who spent years living in the oases of the Sahara, and Fauve and Cubist travelers who transposed the discoveries of the Parisian Salons to create decors of indigenous figures and tropical plants. The network that linked these artists with writers and museum curators was influenced by a complex web of tourism, rapid travel across the Mediterranean, and the march of modernity into a colonized culture. Orientalist Aesthetics shows how colonial policy affected aesthetics, how Europeans visualized cultural difference, and how indigenous artists in turn manipulated Western visual languages.

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