Les Femmes Du Maroc

…which translates to “the women of Morocco“; in addition, is artist Lalla Essaydi’s own take on the classic Les Femmes d’Algiers:

Les Femmes d'Algiers, Delacroix, 1834.

Here’s Essaydi’s reinvention of this classic:

Les Femmes du Maroc, Essaydi, 2010.

Where to begin a single interpretation? I don’t claim to be well-versed in art, but to me it seems that Essaydi has cast her subjects in a similar yet different light- as still women, but with an Orientalist taste tattooed (both literally and metaphorically speaking) in henna and Arabic calligraphy taken from Essaydi’s personal journals.

Again, here we have a prominent work that was controversial when painted:

La Grande Odalisque, Jean Auguste Dominique Ingres, 1814.

And here’s Essaydi’s contrast:

Les Femmes du Maroc: Grande Odalisque, Essaydi, 2010.

From what I recall from my research project for one of my English seminars, “La Grande Odalisque” was widely criticized for its outrageous realism. It’s interesting that both subjects are prostitutes from harems, but of different cultures and geography (the first, French; the latter, Arab).

Overall, I feel honored that Essaydi chose Bates as a venue for her exhibit; it’ s only fitting that a place here with never-ending cross-cultural dialogue and social commentary, like Essaydi and her art, make the voice heard and mind opened.