odalisk


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o·da·lisque

also o·da·lisk  (ō′də-lĭsk′)
n.
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.]
Translations

odalisk

odalisque [ˈəʊdəlɪsk] Nodalisca f
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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).
Rauschenberg's baseline relationship to planarity is paradoxically most evident in the freestanding Combines, notably Odalisk, 1955/58, Untitled, ca.
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.