odalisk

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o·da·lisque

also o·da·lisk (ō′də-lĭsk′)

1. A woman slave in a harem.

2. An artistic representation, often highly eroticized, of such a slave.

[French, from alteration of Turkish odalık, chambermaid, female slave attending women of the harem : oda, room (from Old Turkic otāğ, tent, temporary dwellling of nomads, probably originally meaning "place where a fire is lit" and akin to ōt, fire) + -lık, suff. expressing function.]

American Heritage® Dictionary of the English Language, Fifth Edition. Copyright © 2016 by Houghton Mifflin Harcourt Publishing Company. Published by Houghton Mifflin Harcourt Publishing Company. All rights reserved.

Translations

odalisca

odalisk

odalisque [ˈəʊdəlɪsk] N → odalisca f

Collins Spanish Dictionary - Complete and Unabridged 8th Edition 2005 © William Collins Sons & Co. Ltd. 1971, 1988 © HarperCollins Publishers 1992, 1993, 1996, 1997, 2000, 2003, 2005

Mentioned in ?

odalisque

References in periodicals archive ?

Fragments of reproductions of Landseer's painting appear, for example, in Odalisk (1955-58; Museum Ludwig, Cologne) and Curfew (1958; David Geffen collection, Los Angeles).

The sins of the world: Kenneth Bendiner argues that Robert Rauschenberg's 'combine' work Monogram is not a random assembly but a coherent whole that by alluding to Holman Hunt's The Scapegoat takes as its subject the sacrifice of Christ

Rauschenberg's baseline relationship to planarity is paradoxically most evident in the freestanding Combines, notably Odalisk, 1955/58, Untitled, ca.

Robert Rauschenberg's Combines: two views

Johns (disliked in much of the art world because his work has remained largely within the frame and has come to cost so much) and Rauschenberg (who continues to demonstrate that American urban detritus is practically an art form in its unaltered self) represent the fertile moment (mid to late '50s) in the history of Modern art just before it all imploded into Warhol's total irony; if there's any hope for post-Bilbao art, it'll have to arise from the ashes of works like Johns' Target with Plaster Casts, 1955, and Rauschenberg's Odalisk, 1955/58.