A translation of those findings into visual culture is overdue. This methodological innovation has already been applied very successfully to the historical understanding of Jewish literature from this period. A new and careful approach to the rich variety of ethnographic photographs of Jews will thus enhance a new reading and understanding of those sources. The tradition of the photographs was strongly affected by the vicissitudes of Russian and Soviet history in the twentieth century, and almost as significantly by the modes and practices of scientific treatment of photographs in historical sciences. It connects also to Russian Jewish art history, the primitivism of the Russian avant-garde and its sources in nineteenth century realism. Research into the history of photography of religious Jews in the Russian Empire thus affects the topic of Jewish nationalism, historiography, ethnography and the modern search for Jewish identity. Jewish past in order to give rise to a Jewish historical awareness. Ethnographic photography was part of a general trend among secular Jewish intellectuals to gather the remnants of the. In the early Twentieth century in particular, Jewish ethnography identified and established religious Jews as national Jews. The article explores the tradition and making of ethnographic photography of the East European Jews in the late Nineteenth and early Twentieth century. âAn elegant and honourable synthesis.ââKeith Miller, Times Literary Supplement Read more Offering an original theory of perspective's impact on pictorial representation, the act of looking, and the understanding of truth in painting, Grootenboer shows how these paintings both question the status of representation and explore the limits and credibility of perception. Drawing on playful and mesmerizing baroque images, Grootenboer characterizes what she calls their "sophisticated deceit," asserting that painting is more about visual representation than about its supposed objects. Aided by a stunning full-color gallery, Hanneke Grootenboer proposes a new theory of perspective based on the phenomenological aspects of non-narrative still-life, trompe l'oeil, and anamorphic imagery. of Perspective puts forth the claim that painting is a form of thinking and that perspective functions as the language of the image. Connecting contemporary critical theory with close readings of seventeenth-century Dutch visual culture, The Rhetoric. Likewise, the trick of perspective can prevent us from being absorbed in a scene. We can convince ourselves that a painting of a bowl of fruit or a man in a room appears to be real by the way these objects are rendered. Perspective determines how we, as viewers, perceive painting. Through this case study of Nazlı Hanım's photographs, Roberts reassesses the value of Said's writings on music for understanding nineteenth-century visual culture. Said was interested in the broader applicability of this term, although its potential as an interpretive model for the visual arts remains unexamined. By transposing this model into the domain of art history, Roberts engages with his notion of reading contrapuntally. Yet it is not so much this landmark book, but rather Said's writings on music, in which we can find an alternative approach to cross-cultural exchange. Said's seminal text Orientalism has been pivotal within these debates. Recently art historians have repositioned this corpus of western imagery in relation to art by practitioners from the region and addressed cultural exchanges. Over the last three decades Said's writings have provided a crucial methodological framework for the critique of western Orientalist visual culture. Roberts argues that Nazlı Hanım's use of photography operates in a contrapuntal mode in the Saidean sense of a simultaneity of voices that sound against, as well as with, each other. Nazlı's inventiveness is apparent through her canny experimentation with the codes of portrait photography and the ways she deploys her portraits as tokens of exchange within her culture and with her European interlocutors. This is transgression as Edward Said defines it, with an emphasis on crossing boundaries, testing and challenging limits, and cutting across expectations. One of the striking things about the Nazlı portraits is their transgressive inventiveness. An examination of Nazlı's strategic engagement with photography in this period positions her within the often-separated domains of Egyptian nationalism, Ottoman political reform, western Orientalist art and a proto-feminist moment of Egyptian women's history. Through a focus on photographic portraits commissioned in the late nineteenth century by the Ottoman-Egyptian Princess Nazlı Hanım, Roberts analyses the ways they tested Ottoman and western conventions.
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