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French orientalist painting as a transcultural exercise: an ambiguous gaze

By Helene Gill
Topics: UOW10
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Provided by: WestminsterResearch

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  1. (1980). Femmes d'Alger duns leur appartement, 1834, Louvre, Paris, and 1849, Musee Fabre, Montpellier; discussed in Assia Djebar, Femmes d'Alger dans leur appartement, Des Femmes - Antoinette Fouque Editions,
  2. ibid p.135, quoting Jeanne Dinet-Rollince,
  3. (1986). Imperial Fictions, European Myths of the Orient,
  4. (1910). in L 'Art et les artistes,
  5. (2001). Interview with Koudir Bentchikou, cataloguer of the work of Etienne Dinet,
  6. (1984). Koudir Bentchikou, La Vie et l'oeuvre d'Etienne Dinet,
  7. (1938). La vie de E. Dinet,
  8. (1997). Les Deux Viesd'Etienne Dinet, Balland, 'Le Nadir',
  9. (1929). nude, painted during the last year of his life, was entitled La Source
  10. (1978). Orientalism, Western conceptions of the Orient, Routledge & Kegan Paul,
  11. Source: Archives, Musee d'Orsay.
  12. (2001). Source: interview with Dinet biographer Fran~ois Pouillon,
  13. (1988). The Imaginary Orient' Art in America,
  14. (1991). The Imaginary Orient' in The Politics of Vision, Essays on Nineteenth-Century Art and Society,
  15. The personal link goes further; Dinet was briefly intended
  16. (1857). Un Ete dans le Sahara,
  17. Unlike his direct contemporary Isabelle Eberhardt, Dinet showed no mystical or aesthetic interest in the more charismatic forms of ritual carried out in the muslim brotherhoods (zawyias) which were very present in
  18. (1918). Vie de Mohammed, prophete d'Allah,

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