Image may be NSFW.
Clik here to view.
Pictured. Madame de Pompadour portrayed as a Turkish lady in 1747 by Charles André van Loo.
Image may be NSFW.
Clik here to view.Turquerie was the Orientalist fashion in Western Europe from the 16th to 18th centuries for imitating aspects of Turkish art and culture. Many different Western European countries were fascinated by the exotic and relatively unknown culture of Turkey, which was the center of the Ottoman Empire, and at the beginning of the period the only power to pose a serious military threat to Europe. The West had a growing interest in Turkish-made products and art, including music, visual arts, architecture, and sculptures. This fashionable phenomenon became more popular through trading routes and increased diplomatic relationships between the Ottomans and the European nations, exemplified by the Franco-Ottoman alliance in 1715. Ambassadors and traders often returned home with tales of exotic places and souvenirs of their adventures.
The movement was often reflected in the art of the period. Music, paintings, architecture, and artifacts were frequently inspired by the Turkish and Ottoman styles and methods. Paintings in particular portrayed the Ottomans with bright colours and sharp contrasts, suggesting their interesting peculiarity and exotic nature.
Pictured. Rudolf, Crown Prince of Austria had his working room decorated in the Turkish style in 1881. It is partially preserved at the Hofmobiliendepot in Vienna.
Mavi Boncuk |
Turquerie: An Eighteenth-Century European Fantasy by Haydn Williams[1]
240 pages
Thames & Hudson; 1 edition (November 11, 2014)
ISBN-13: 978-0500252062 | ISBN-10: 0500252068
A sumptuous survey of the fashion for art, architecture, and decorative arts that evoked or imitated Turkish culture and captivated eighteenth-century Europe
This is the first book, painstakingly researched from many scattered sources, to identify the key elements of what in our own time has become a popular and collectable area of the fine art and decorative arts: turquerie. With the arrival of Ottoman embassies and their elaborate entourages at the courts of Europe in the early eighteenth century, a fascination with all things Turkish took hold among royalty and aristocracy that lasted until the French Revolution. Turbaned figures appeared in paintings, as ceramic figures, and on the stage; tented boudoirs became the rage; and crossed crescents, palm trees, and camels featured on wall panels, furniture, and enamel boxes.
Here Haydn Williams, an expert on the decorative arts, shows how it was a theme that sparked varied responses in different places. Its most intense and long-lasting expression was in France, but its reach was broad–from a pavilion built by Catherine II in Russia to the Turkish tents erected along the Elbe to celebrate a royal marriage in Dresden in 1719; from an ivory statuette of a janissary created for King Augustus II of Poland to the costumes worn for a carnival celebration in Rome in 1748.
The book is organized into eight thematic and chronological chapters that concentrate on particular subjects, such as painting, tents, interiors, and costumes and settings for the stage. In all, this splendid volume enables the reader to indulge in the whimsies and fancies of the European elite of the eighteenth century. 270 illustrations in color and black-and-white
[1] Haydn Williams, formerly a director at Sotheby’s, is now an independent fine art consultant.
Clik here to view.
Pictured. Madame de Pompadour portrayed as a Turkish lady in 1747 by Charles André van Loo. Image may be NSFW.
Clik here to view.
Turquerie was the Orientalist fashion in Western Europe from the 16th to 18th centuries for imitating aspects of Turkish art and culture. Many different Western European countries were fascinated by the exotic and relatively unknown culture of Turkey, which was the center of the Ottoman Empire, and at the beginning of the period the only power to pose a serious military threat to Europe. The West had a growing interest in Turkish-made products and art, including music, visual arts, architecture, and sculptures. This fashionable phenomenon became more popular through trading routes and increased diplomatic relationships between the Ottomans and the European nations, exemplified by the Franco-Ottoman alliance in 1715. Ambassadors and traders often returned home with tales of exotic places and souvenirs of their adventures.The movement was often reflected in the art of the period. Music, paintings, architecture, and artifacts were frequently inspired by the Turkish and Ottoman styles and methods. Paintings in particular portrayed the Ottomans with bright colours and sharp contrasts, suggesting their interesting peculiarity and exotic nature.
Pictured. Rudolf, Crown Prince of Austria had his working room decorated in the Turkish style in 1881. It is partially preserved at the Hofmobiliendepot in Vienna.
Mavi Boncuk |
Turquerie: An Eighteenth-Century European Fantasy by Haydn Williams[1]
240 pages
Thames & Hudson; 1 edition (November 11, 2014)
ISBN-13: 978-0500252062 | ISBN-10: 0500252068
A sumptuous survey of the fashion for art, architecture, and decorative arts that evoked or imitated Turkish culture and captivated eighteenth-century Europe
This is the first book, painstakingly researched from many scattered sources, to identify the key elements of what in our own time has become a popular and collectable area of the fine art and decorative arts: turquerie. With the arrival of Ottoman embassies and their elaborate entourages at the courts of Europe in the early eighteenth century, a fascination with all things Turkish took hold among royalty and aristocracy that lasted until the French Revolution. Turbaned figures appeared in paintings, as ceramic figures, and on the stage; tented boudoirs became the rage; and crossed crescents, palm trees, and camels featured on wall panels, furniture, and enamel boxes.
Here Haydn Williams, an expert on the decorative arts, shows how it was a theme that sparked varied responses in different places. Its most intense and long-lasting expression was in France, but its reach was broad–from a pavilion built by Catherine II in Russia to the Turkish tents erected along the Elbe to celebrate a royal marriage in Dresden in 1719; from an ivory statuette of a janissary created for King Augustus II of Poland to the costumes worn for a carnival celebration in Rome in 1748.
The book is organized into eight thematic and chronological chapters that concentrate on particular subjects, such as painting, tents, interiors, and costumes and settings for the stage. In all, this splendid volume enables the reader to indulge in the whimsies and fancies of the European elite of the eighteenth century. 270 illustrations in color and black-and-white
[1] Haydn Williams, formerly a director at Sotheby’s, is now an independent fine art consultant.
