Description
This study focuses on three characteristic proponents of the genre in French painting of the 19th and early 20th centuries: Horace Vernet, Eugne Fromentin, and Etienne Dinet. By confronting post-Saidian critique of orientalist cultural productions with the historical context of the target works, it raises fundamental questions: is there a right to represent the non-European Other, or is the Western gaze irretrievably reductive? What can be said about the gaps, ambiguities, lucid moments which may be glimpsed in the work of certain artists of the colonial era? What do some in the formerly colonized East see in an output which has been so categorically deconstructed as the aesthetic arm of imperialism?
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