Cookies Policy
X

This site uses cookies. By continuing to browse the site you are agreeing to our use of cookies.

I accept this policy

Find out more here

MAKING SENSE OF OSMAN HAMDİ BEY AND HIS PAINTINGS

No metrics data to plot.
The attempt to load metrics for this article has failed.
The attempt to plot a graph for these metrics has failed.
The full text of this article is not currently available.

Brill’s MyBook program is exclusively available on BrillOnline Books and Journals. Students and scholars affiliated with an institution that has purchased a Brill E-Book on the BrillOnline platform automatically have access to the MyBook option for the title(s) acquired by the Library. Brill MyBook is a print-on-demand paperback copy which is sold at a favorably uniform low price.

Access this article

+ Tax (if applicable)
Add to Favorites
You must be logged in to use this functionality

This article aims at revisiting recent scholarship on the Ottoman painter and archaeologist Osman Hamdi Bey (1842–1910) and proposes a critical reassessment of the way in which some of his major paintings have been analyzed. The central argument is that studies of his oeuvre have relied mostly on interpretation, while failing to exhaust the explanatory potential of still partly untapped sources. In an effort to redress this imbalance, a number of issues that are likely to contribute to a better understanding of the artist’s works are examined. Among these, the seemingly simple and straightforward matter of his paintings’ names reveals a surprising number of misnomers that attest to the combined effect of insufficient documentation and teleological interpretation. Two such blatant errors, namely the so-called Tortoise Charmer (1906) and Mihrab (1901), are studied in detail to illustrate this point and propose a critical reinterpretation of the nature, context, and meaning of these two iconic works. More generally, the article addresses the issue of audiences and of reception in order to challenge some of the claims made to this day regarding the artist’s intent, and concludes by proposing a more systematic treatment of this oeuvre, one that may allow for less speculative interpretations.

10.1163/22118993-90000189
/content/journals/10.1163/22118993-90000189
dcterms_title,pub_keyword,dcterms_description,pub_author
6
3
Loading
Loading

Full text loading...

/content/journals/10.1163/22118993-90000189
Loading

Data & Media loading...

http://brill.metastore.ingenta.com/content/journals/10.1163/22118993-90000189
Loading

Article metrics loading...

/content/journals/10.1163/22118993-90000189
2012-03-27
2016-12-07

Sign-in

Can't access your account?
  • Tools

  • Add to Favorites
  • Printable version
  • Email this page
  • Subscribe to ToC alert
  • Get permissions
  • Recommend to your library

    You must fill out fields marked with: *

    Librarian details
    Your details
    Why are you recommending this title?
    Select reason:
     
    Muqarnas Online — Recommend this title to your library
  • Export citations
  • Key

  • Full access
  • Open Access
  • Partial/No accessInformation