Changes

==Origin==

==Origin==

via [[Latin]] from [[Greek]] ''exōtikos'' ‘foreign,’ from ''exō'' ‘outside.’

via [[Latin]] from [[Greek]] ''exōtikos'' ‘foreign,’ from ''exō'' ‘outside.’

Late [http://en.wikipedia.org/wiki/16th_century 16th century]

Late [https://en.wikipedia.org/wiki/16th_century 16th century]

==Definitions==

==Definitions==

*1: originating in or characteristic of a distant [[foreign]] country: exotic birds | they loved to visit ''exotic'' places.

*1: originating in or characteristic of a distant [[foreign]] country: exotic birds | they loved to visit ''exotic'' places.

*3: of a kind not used for [[ordinary]] [[purposes]] or not ordinarily encountered: [[exotic]] [[elementary particles]] as yet [[unknown]] to [[science]].

*3: of a kind not used for [[ordinary]] [[purposes]] or not ordinarily encountered: [[exotic]] [[elementary particles]] as yet [[unknown]] to [[science]].

==Description==

==Description==

'''Exoticism''' (from '''exotic''') is a trend in European art and design, influenced by some ethnic groups or civilizations from the late 19th-century. First stimulated by [http://en.wikipedia.org/wiki/Orientalism Eastern trade in the 16th and 17th centuries], interest in non-western art by Europeans became more and more popular following European [[colonialism]]. So-called "oriental" art emanated from a type of [[primitive]] [[fantasy]] for Western society, reflecting the increasingly exotic tastes of Europe.

'''Exoticism''' (from '''exotic''') is a trend in European art and design, influenced by some ethnic groups or civilizations from the late 19th-century. First stimulated by [https://en.wikipedia.org/wiki/Orientalism Eastern trade in the 16th and 17th centuries], interest in non-western art by Europeans became more and more popular following European [[colonialism]]. So-called "oriental" art emanated from a type of [[primitive]] [[fantasy]] for Western society, reflecting the increasingly exotic tastes of Europe.

The influences of ''Exoticism'' can be seen through numerous [[genres]] of this period, notably in [[music]], [[painting]], and decorative art. In music, exoticism is a genre in which the [[rhythms]], [[melodies]], or instrumentation are designed to evoke the atmosphere of far-off lands or ancient times (e.g. [http://en.wikipedia.org/wiki/Maurice_Ravel Ravel]'s ''[http://en.wikipedia.org/wiki/Daphnis_et_Chlo%C3%A9 Daphnis et Chloé]'' and ''Tzigane for Violin and Orchestra'', [http://en.wikipedia.org/wiki/Claude_Debussy Debussy]'s ''Syrinx for Flute Solo'' or [http://en.wikipedia.org/wiki/Nikolai_Rimsky-Korsakov Rimsky-Korsakov]'s ''Capriccio espagnol''). Like orientalist subjects in 19th-century painting, exoticism in the decorative arts and interior decoration was associated with fantasies of [[opulence]].

The influences of ''Exoticism'' can be seen through numerous [[genres]] of this period, notably in [[music]], [[painting]], and decorative art. In music, exoticism is a genre in which the [[rhythms]], [[melodies]], or instrumentation are designed to evoke the atmosphere of far-off lands or ancient times (e.g. [https://en.wikipedia.org/wiki/Maurice_Ravel Ravel]'s ''[https://en.wikipedia.org/wiki/Daphnis_et_Chlo%C3%A9 Daphnis et Chloé]'' and ''Tzigane for Violin and Orchestra'', [https://en.wikipedia.org/wiki/Claude_Debussy Debussy]'s ''Syrinx for Flute Solo'' or [https://en.wikipedia.org/wiki/Nikolai_Rimsky-Korsakov Rimsky-Korsakov]'s ''Capriccio espagnol''). Like orientalist subjects in 19th-century painting, exoticism in the decorative arts and interior decoration was associated with fantasies of [[opulence]].

''Exoticism'', by one definition, is "the [[charm]] of the unfamiliar." Scholar [http://en.wikipedia.org/wiki/Alden_Jones Alden Jones] defines exoticism in [[art]] and [[literature]] as the representation of one [[culture]] for consumption by another. Victor Segalen's important "Essay on Exoticism" reveals Exoticism as born of the age of [[imperialism]], possessing both [[aesthetic]] and [[Ontology|ontological]] [[value]], while using it to uncover a significant cultural "[[otherness]]." An important and [[archetypical]] exoticist is the artist and writer [http://en.wikipedia.org/wiki/Paul_Gauguin Paul Gauguin], whose visual representations of [http://en.wikipedia.org/wiki/Tahiti Tahitian] people and landscapes were targeted at a French [[audience]]. While exoticism is closely linked to [http://en.wikipedia.org/wiki/Orientalism Orientalism], it is not a movement necessarily associated with a particular time period or culture. Exoticism may take the form of [http://en.wikipedia.org/wiki/Primitivism primitivism], [http://en.wikipedia.org/wiki/Ethnocentrism ethnocentrism], or [[humanism]].

''Exoticism'', by one definition, is "the [[charm]] of the unfamiliar." Scholar [https://en.wikipedia.org/wiki/Alden_Jones Alden Jones] defines exoticism in [[art]] and [[literature]] as the representation of one [[culture]] for consumption by another. Victor Segalen's important "Essay on Exoticism" reveals Exoticism as born of the age of [[imperialism]], possessing both [[aesthetic]] and [[Ontology|ontological]] [[value]], while using it to uncover a significant cultural "[[otherness]]." An important and [[archetypical]] exoticist is the artist and writer [https://en.wikipedia.org/wiki/Paul_Gauguin Paul Gauguin], whose visual representations of [https://en.wikipedia.org/wiki/Tahiti Tahitian] people and landscapes were targeted at a French [[audience]]. While exoticism is closely linked to [https://en.wikipedia.org/wiki/Orientalism Orientalism], it is not a movement necessarily associated with a particular time period or culture. Exoticism may take the form of [https://en.wikipedia.org/wiki/Primitivism primitivism], [https://en.wikipedia.org/wiki/Ethnocentrism ethnocentrism], or [[humanism]].

Jean-Auguste-Dominique Ingres (29 August 1780 – 14 January 1867) was a French Neoclassical painter. The revival of [http://en.wikipedia.org/wiki/Classical_art ancient Greek] and Roman art left behind the Academy’s emphasis on [[naturalism]], and incorporated a new found [[idealism]] not seen since the [[Renaissance]]. As classicism progressed, Ingres identified a newfound idealism and exoticism in his work. ''The Grand Odalisque'', finished in 1814, was created to arouse the [[male]] view. The notion of the exotic figure furthers Ingres’ use of [[symmetry]] and line by enabling the eye to cohesively move across the canvas. Although Ingres’ [[intention]] was to make the [[woman]] [[beautiful]] in his work, his model was a [[courtesan]], which arouse [[debate]].

Jean-Auguste-Dominique Ingres (29 August 1780 – 14 January 1867) was a French Neoclassical painter. The revival of [https://en.wikipedia.org/wiki/Classical_art ancient Greek] and Roman art left behind the Academy’s emphasis on [[naturalism]], and incorporated a new found [[idealism]] not seen since the [[Renaissance]]. As classicism progressed, Ingres identified a newfound idealism and exoticism in his work. ''The Grand Odalisque'', finished in 1814, was created to arouse the [[male]] view. The notion of the exotic figure furthers Ingres’ use of [[symmetry]] and line by enabling the eye to cohesively move across the canvas. Although Ingres’ [[intention]] was to make the [[woman]] [[beautiful]] in his work, his model was a [[courtesan]], which arouse [[debate]].

Édouard Manet’s ''Olympia'', finished in 1863, was based on Titian’s ''Venus of Urbino''. Olympia was a popular play about a courtesan called Olympia. This subject was extremely [[controversial]] for an artist to portray a woman like this because of traditional [[vision]] of the Academy. Manet was being very different from the accepted [[academic]] style by outlining and flattening space that created a [[distortion]] of classical elements. Olympia is provocative in her [[nudity]] that implies she is naked, not nude. She is looking out in a very confrontational way, and setting the viewer as a man coming to the [[prostitute]], although Olympia’s hand suggests she is not ready to engage with the customer. The African servant calls on [[racism]] and [[slavery]] in France, because showing someone of color participating in French life was unheard of, furthering the works exotic nature.

Édouard Manet’s ''Olympia'', finished in 1863, was based on Titian’s ''Venus of Urbino''. Olympia was a popular play about a courtesan called Olympia. This subject was extremely [[controversial]] for an artist to portray a woman like this because of traditional [[vision]] of the Academy. Manet was being very different from the accepted [[academic]] style by outlining and flattening space that created a [[distortion]] of classical elements. Olympia is provocative in her [[nudity]] that implies she is naked, not nude. She is looking out in a very confrontational way, and setting the viewer as a man coming to the [[prostitute]], although Olympia’s hand suggests she is not ready to engage with the customer. The African servant calls on [[racism]] and [[slavery]] in France, because showing someone of color participating in French life was unheard of, furthering the works exotic nature.