From The Art and Popular Culture Encyclopedia

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-	[[Image:The Turkish Bath by Ingres.jpg|thumb|right|200px|''[[Ars Memoriae]]'': [[The Turkish Bath]] ([[]]) - [[Jean Auguste Dominique Ingres]]]]	+	[[Image:The Turkish Bath by Ingres.jpg|thumb|right|200px|''[[The Turkish Bath]]'' ([[]]) - [[Jean Auguste Dominique Ingres]]]]
	When [[Jean Auguste Dominique Ingres]], director of the French ''Académie de peinture'' painted a highly-colored vision of a [[turkish bath]] (''illustration, right''), he made his [[eroticize]]d [[Orient]] publicly acceptable by his diffuse generalizing of the female forms, who might all have been of the same model. If his [[painting]] had simply been retitled "In a Paris Brothel," it would have been [[controversial|far less acceptable]]. Sensuality was seen as acceptable in the [[exotic]] Orient.		When [[Jean Auguste Dominique Ingres]], director of the French ''Académie de peinture'' painted a highly-colored vision of a [[turkish bath]] (''illustration, right''), he made his [[eroticize]]d [[Orient]] publicly acceptable by his diffuse generalizing of the female forms, who might all have been of the same model. If his [[painting]] had simply been retitled "In a Paris Brothel," it would have been [[controversial|far less acceptable]]. Sensuality was seen as acceptable in the [[exotic]] Orient.
	[[Category:PD]]		[[Category:PD]]

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Revision as of 22:47, 27 January 2008

When Jean Auguste Dominique Ingres, director of the French Académie de peinture painted a highly-colored vision of a turkish bath (illustration, right), he made his eroticized Orient publicly acceptable by his diffuse generalizing of the female forms, who might all have been of the same model. If his painting had simply been retitled "In a Paris Brothel," it would have been far less acceptable. Sensuality was seen as acceptable in the exotic Orient.