The Odalisque (painting)

The term "Odalisque" as applied to painting generally refers to a recurring subject in Western art, particularly during the Orientalist movement of the 19th century. It depicts a female figure, often depicted nude or semi-nude, reclining or lounging in a harem setting. The term "odalisque" itself originally referred to a female slave in a Turkish seraglio, often one who was training to be a concubine or wife of the Sultan.

In art, the odalisque became a symbol of exoticism, sensuality, and luxury, often viewed through a Western lens. These paintings were typically created for a Western audience and reflected European fantasies and perceptions of the Middle East and North Africa. The depiction often emphasized the perceived beauty and subservience of the female figure, reinforcing Orientalist stereotypes.

Notable examples of Odalisque paintings include those by Jean-Auguste-Dominique Ingres, such as "La Grande Odalisque" (1814) and Eugène Delacroix, such as "Women of Algiers in their Apartment" (1834). These works, while celebrated for their artistic skill, have also been criticized for their perpetuation of cultural appropriation and the objectification of women. The odalisque as a subject matter declined in popularity as Orientalism came under greater scrutiny in the 20th and 21st centuries.