Les Femmes du Maroc: La Grande Odalisque (Women of Morocco.
Lalla A. Essaydi (born 1956). Her Grand Odalisque from the series 'Les Femmes du Maroc' (2008), for example, cites the French painter Jean-Auguste-Dominique Ingres' painting La Grande Odalisque (1814), although her model is dressed. She also presents the resistance of stereotypes maintained by Western and Eastern societies. The inspiration for many of her works came from her childhood, in.
Lalla Essaydi, Les Femmes du Maroc: La Grand Odalisque, 2008 Artwork - 26576 Signed, titled, dated, and editioned on artist label verso 30 x 40 inch chromogenic dye coupler print mounted to aluminum Edition of 15 48 x 60 inch chromogenic dye coupler print mounted to aluminum Edition of 10.
Essaydi’s photography explores the chargedissue of veiling and revealing that surrounds Islamic women. The women in the series Les Femmes du Maroc are enveloped in Islamic calligraphy, as it is written in henna on their skin, robes, and surrounding interiors. The text entraps them yet recalls a form of decoration often applied in celebration or for good luck. In responding to one of the.
Lalla Essaydi, Les Femmes du Maroc. Edwynn Houk Gallery 745 5th Ave, 4th floor, 212-750-7070 Midtown September 28 - November 21, 2007 Reception: Friday, September 28, 6 - 8 PM Web Site. Born in Morocco, Lalla Essaydi’s new works incorporate layers of Islamic calligraphy applied by hand with henna, in tandem with poses directly inspired by 19th Century Orientalist painting. By appropriating.
Lalla Essaydi: Les Femmes du Maroc comprises 17 large scale photographs selected from the artist’s most recent series. The title of the series, Les Femmes du Maroc, is adapted from Eugene Delacroix’s iconic painting, Les Femmes d’Algiers of 1834. The painting by Delacroix, while based on his actual travels in North Africa, is a fictive vision of languorous women in an opulent harem.
Connecting contemporary Arab woman with the Orientalist imagery of nineteenth century Romanticism, Lalla Essaydi’s photography is created from the unique perspective of the personal experience.Her representations of the female body, combined with the Islamic calligraphy applied by hand with henna, focus the complex issue of Arab female identity.In most of her work, Essaydi returns to her.
Lalla Essaydi restaged 19th-century “Orientalist” paintings of harem life for her exhibit of photographs “Les Femmes du Maroc,” on display at the Zimmerli Museum in New Brunswick.