Question

In her essay, "The Imaginary Orient," Linda Nochlin examines the well-known painting, Snake Charmer, by the Orientalist artist Jean-Leon Gerome. Specifically, she argues that the painting represents the Orient as "a world without change, a world of timeless, atemporal customs and rituals, untouched by the historical processes that were "afflicting" or "improving" but, at any rate, drastically altering Western societies at the time." (pgs. 35-36). Ultimately, she wants the reader to acknowledge the imaginary Orient that artists like Gerome have produced in their paintings. What pictorial or stylistic elements of Snake Charmer buttress her arguments?

Answer 1

In her essay, Linda Nochlin argues that the painting Snake Charmer represents the Orient as a world without change or historical processes, untouched by Western society. The pictorial and stylistic elements of the painting buttress her argument.

Step-by-step explanation:

In her essay, "The Imaginary Orient," Linda Nochlin argues that the painting Snake Charmer by Jean-Leon Gerome represents the Orient as a world without change or historical processes, untouched by Western society. Nochlin asserts that the pictorial and stylistic elements of Snake Charmer support her argument by emphasizing a romantic and exotic characterization of the Orient. For example, Gerome uses rich colors, intricate details, and exaggerated features to create a sense of mystery and fantasy. The painting also includes traditional oriental elements such as costumes, props, and architectural motifs to reinforce the image of an unchanging Orient.