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Orientalists: Western Artists in Arabia, The Sahara, Persia and India [Englisch] [Gebundene Ausgabe]

Kristian Davies
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Kurzbeschreibung

28. Januar 2005
From the Great Pyramids to the Taj Mahal, the Middle East and India have for centuries lured Westerners to travel and have inspired their architecture, literature, music and fashion. The Orientalists pursues the richest era of this fascination, the mid to late nineteenth century, when American and European artists travelled and painted throughout the Holy Land and India. The highly cinematic images they created suggest a great influence on modern visual culture. Travel, art, geography, cultural perception, and social and military history are all woven through the text. An extensive introduction provides a digestible perspective on the evolution of Orientalism and the rise of Islam and its ever-changing relationship with the West. It is within this context that the author introduces us to Orientalist paintings. The author is well aware of September 11, 2001 and its implications on the book which was being researched and formulated in his mind before the horrific events which unfolded. He does not pretend there are answers to the contemporary Middle East problems, but there are insights to be formed in a careful examination of the past, as any historian well knows. In this regard, what is most astounding about the book is its unusual relevance to present-day geo-politics.

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Produktinformation

  • Gebundene Ausgabe: 301 Seiten
  • Verlag: Antique Collectors Club (28. Januar 2005)
  • Sprache: Englisch
  • ISBN-10: 0975978306
  • ISBN-13: 978-0975978306
  • Größe und/oder Gewicht: 31,2 x 24,9 x 2,7 cm
  • Durchschnittliche Kundenbewertung: 5.0 von 5 Sternen  Alle Rezensionen anzeigen (1 Kundenrezension)
  • Amazon Bestseller-Rang: Nr. 1.603.459 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)
  • Komplettes Inhaltsverzeichnis ansehen

Produktbeschreibungen

Synopsis

From the Great Pyramids to the Taj Mahal, the Middle East and India have for centuries lured Westerners to travel and have inspired their architecture, literature, music and fashion. The Orientalists pursues the richest era of this fascination, the mid to late nineteenth century, when American and European artists travelled and painted throughout the Holy Land and India. The highly cinematic images they created suggest a great influence on modern visual culture. Travel, art, geography, cultural perception, and social and military history are all woven through the text. An extensive introduction provides a digestible perspective on the evolution of Orientalism and the rise of Islam and its ever-changing relationship with the West. It is within this context that the author introduces us to Orientalist paintings. The author is well aware of September 11, 2001 and its implications on the book which was being researched and formulated in his mind before the horrific events which unfolded. He does not pretend there are answers to the contemporary Middle East problems, but there are insights to be formed in a careful examination of the past, as any historian well knows.

In this regard, what is most astounding about the book is its unusual relevance to present-day geo-politics.


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5.0 von 5 Sternen Unerreichte Farbenpracht 12. August 2005
Ich habe in den letzten Jahren sehr viele Bücher über die akademischen Maler des 19. Jahrhunderts gelesen.
Meister, die zu den größten der Menschheitsgeschichte gehören, sind aufgrund der in Museen und Medien unhinterfragten Verehrung von dilettantischem Müll in Vergessenheit geraten.
Einen kleinen, aber wichtigen Beitrag zur Verbesserung der Situation hat uns Kristian Davies mit diesem Kunstbuchjuwel an die Hand gegeben.
Im Gegensatz zu vielen Autoren anderer Kunstbüchern, deren relativ trocken aufbereiteter Inhalt oft Mühe bereit, das Ende des Buchs zu erblicken, fesselt Davies mit seiner leichten, persönlichen und tiefsinnigen Schreibkunst.
Er verwebt Fakten mit seiner eigenen Erfahrung und lässt den Leser teilhaben an seiner Liebe zur orientalischen Malerei, die ihm nicht nur auf Reisen von großer Hilfe für das Verständnis dieser Länder war.
So beschreibt er die beeindruckenden Momente, in denen er zum ersten Mal eine fremde Gegend und Kultur erblickt, die ihm jedoch aufgrund der grossartigen Werke der verachteten Orientmaler vertraut erscheint.
Neben thematischen Kapiteln über die Strassen und Marktplätze, Glaube oder die Darstellung der Frauen gibt es einzelne Kapitel über besonders bedeutende Meister.
Dabei sind nicht nur relativ bekannte Größen wie Gerome oder Repin vertreten, sondern auch zum Teil in Vergessenheit geratene Maler wie Vereshchagin oder Bauernfeind. Der deutsche Gustav Bauernfeind, mit Sicherheit einer der genialsten deutschen Maler aller Zeiten, ist nicht nur in Deutschland nahezu unbekannt. Sein teilweise tragisches Leben hat, wie Kristian Davies zeigt, große Ähnlichkeit mit dem des Malers Gauguin.
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Amazon.com: 4.9 von 5 Sternen  28 Rezensionen
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5.0 von 5 Sternen Unmatched Colorfulness 19. August 2005
Von Michael Billmann - Veröffentlicht auf Amazon.com
In the last years i've read many books about the academic painters of the 19.century. Masters, who belong to the greatest of mankind,
fall into oblivion due to the unquestionable admiration of dilettante garbage in museums and the media.
Kristian Davies gave us with this art book a small jewel at hand, an important contribution for the improvement of the situation.
Contrary to many authors of other art books, most of them troublesome to read and see the end of the book, Davies, with his easy, flowing, personal and knowledgeable writing style, captivate his readers.
He weaves facts with his own experience and shared his love for oriental paintings, which were a great help to understand these countries, not only at his journeys. So he describe the impressing moments, when he saw a foreign area and culture for the first time, and miracly it appeared familiar to him, due to the great works of the despised Oriental painters.
Beside topic chapters concerning the roads and market places, faith or the representation of the woman, there are individual chapters about particular important masters.Not only relatively well-known ones , such as Gerome or Repin, are represented , but also largely unknown artist such as Vereshchagin or Bauernfeind. The German Gustav Bauernfeind, for sure one of the most ingenious German painters of all times, is not only almost unknown in Germany. His partly tragic life has, like Kristian Davies shows, large similarity with that of the painter Gauguin. Gauguin is pampered by the critics, Bauernfeind ignored, because he belongs to the academic painters. A tribe allegedly unable to inspire their pictures with life. That's ridiculous and wrong, as you can see by the enormous selection of the large sized, detailed and colorful pictures in this book.
This book deserves, as first art book, 6 stars!
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5.0 von 5 Sternen Unvelievable, Amazing Book! A Treasure! 5. April 2005
Von J.H. Tudor - Veröffentlicht auf Amazon.com
This book absolutely blew me away. I manage a prestigious museum's bookstore in a major US city and have seen every single art history book that's come on the market in the last five years. I can honestly say that this book definitively sets a new standard for color reproduction and readability [it's easily the most accessible art book I've ever seen.] It contains hundreds of eye-popping color reproductions [and detail studies] of paintings that define the genre, some never having been seen by anyone for over a century. Plus, it's definitely NOT boring [like some other art books I could mention.] Author Kristian Davies has created a vibrant new hybrid of art history, personal experience, reflection and scholarly review. This book sets the bar so high for art books that it may never be surpassed. Highly recommended. If I could give it 6 stars, I would! And WHO is this new company Laynfaroh? I expect more great things from them in the future.
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5.0 von 5 Sternen A Tradition of Painting that Died Out 23. April 2006
Von Marco Antonio Abarca - Veröffentlicht auf Amazon.com
Verifizierter Kauf
The Orientalist painters were contemporaries of the Impressionists. Whereas most educated people know of Manet, Monet, Degas, Renoir and the other Impressionist Masters, the Orientalist Masters are today almost unknown. Their obscurity is almost Darwinian in its completeness.

Kristian Davies like a physical anthropologist has gone back in time and dusted off the layers of dust that cover the Orientalist's paintings. What we discover are a number of painters with a vituoso technique and a solid command of the Western painting tradition. The high quality of the brush work, vivid colors and attention to detail are simply astonishing. There are few painters today that can match their technical skills.

After the September 11th terrorist attacks, these first artistic contacts between the West and the Orient take on special interest. Davies bravely enters into Edward Said's Orientalist debate. He uncovers an artistic vision that is much more complicated than a simple we versus them.

This is a beautiful book with very high production values. There are over 300 images of American, European and Russian Oreintalist masters. This book is highly recommended.
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5.0 von 5 Sternen THE VERY BEST 5. April 2005
Von Don Abel - Veröffentlicht auf Amazon.com
Simply beyond words! I have an enormous library of books on the subject-matter of Orientalism, from straight analysis to more image-driven hard covers and all manner of rare works as well; "The Orientalists" by Kristian Davies is bar none the finest, most vivid, most engaging book of them all. I am astonished at the volume of paintings the author was able to dig up from seemingly every nook and corner of the world, many of the images not seen by western eyes (or anyone's for that matter) in over 100 years. He has brought to light the work of artists, such as the gifted Verashchagin, who I'd virtually only read about but had seen so little of their work as to leave me wondering where it possibly all could have gone over the years. Lost to the ages- but found again by Davies. I should note that this is the first time, to my knowledge, that Verashchagin's work has been published in an English text/ artbook. Even some of the very hard to locate Russian/ Eastern European texts don't cover his work like this- and certainly not in color. The color! I can't believe the sheer quality of the reproductions in this book- they are unmatched by any other book on this subject. Few times, if ever, have I encountered such quality in a color image on the printed page which jumps out like these. The author has obviously made certain to do the paintings justice. I should additionally note how affordable this book was compared to most of the ridiculously overpriced hardcovers I own from stores like the defunct Hackers, whose overall quality and content can't match Davies' book. I have been waiting for a book like this for many years now and at last it is here. Having visited the publishers website, [...] I can see that everyone in the field who has gotten their hands on this, agree wholeheartedly with these assessments too. Full applause to author Kristian Davies. I notice he has written another artbook as well discussing the Cape Ann art colony which I'm going to look into. My thanks to you!
13 von 14 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Deconstructing the deconstructionists! 28. November 2005
Von Ex-PhD student - Veröffentlicht auf Amazon.com
This is a really great refreshing book. Much better color quality than other types of books on Orientalist painting.

I was in college in Massachusetts during the 80's, the real era for deconstructionism, the post-feminist critique, and how it related to the Ethics of Encounter and cross-culturalism. We were studying Said and many others. And I must say that for a couple of years I was definitely smitten with Edward Said's books, his polemic. When you are in that environment though, after all a while, you tend to have blinders to any other way of looking at things. The more you see the world through the deconstructionist "lens' the more carried away you get by that critical approach, and after a while you peal apart everything you look at, and then are unable to just "look at" it. Eventually I realized Edward Said's works were a little extremist. Looking back he just seemed like an unhappy man with an ax to grind. But his influence was so strong that to this day the ax is still grinding its way through some university campuses.

Davies' "The Orientalists" really made me laugh because of the refreshing stance he took against Said's philosophies. From what I can tell, Davies is not a professor nor affiliated with any university - this obviously makes him more at liberty to speak his mind openly and take risks. And indeed he does: his voice is much more opinionated and almost sarcastic than any I have ever read in an art book. For those who have not taught or worked in universities, they do not understand how curious the politics is in certain departments. To this day, the name of Edward Said is still sacrosanct in many circles, and has acquired a bizarre kind of cult status - and thus to criticize him openly or in one's writing risks loss of tenure or accolades.

This is not surprising though because very often it has been outsiders, independent writers or scholars who make leaps and bounds, who successfully refute dogma and open new modes of thinking precisely because they do so risk free. There is no chance they will be fired.

All of this is beside the point though. The Orientalists has amazing color pictures, and tons of them. So, even if you never read a word of the text, the book will give you hours of enjoyment. I can imagine art students ripping this work off for years to come. But if you do get into the text though, you will not be bored or put to sleep. It makes for fascinating reading, in a History Channel, sort of fast-paced way. The writing doesn't get bogged down into the kind of tiring academic legalese that so often happens with books on Orientalism.

The pictures are great and so many of them are new. And Davies' new proposal on how one should look at Orientalist painting ("Judging each for its own individual value") will hopefully in time prevail over the Saidian approach, as indeed it already seems to be.
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