artwork similar to grand odalisque by another artists
For an interpretation of other pictures from the 19th and 20th centuries, see: Analysis of Modern Paintings (1800-2000).
Ingres repeated the Oriental setting in his harem picture, The Turkish Bath (1862, Louvre), which contained far more nudity than Manet’s Olympia (1863, Musee d’Orsay) of the following year, but which – unlike Manet’s painfully real composition – was deemed to be perfectly acceptable owing to its fantasy setting.
Grande Odalisque attracted wide criticism when it was first shown. It is renowned for the elongated proportions and lack of anatomical realism. The work is owned by the Louvre Museum, Paris which purchased the work in 1899.
La Grande Odalisque was appropriated by the feminist art group Guerrilla Girls for their first color poster and most iconic image. The 1989 Metropolitan Museum poster gave Ingres’s odalisque a gorilla mask and posed the question “Do women have to be naked to get into the Met. Museum?”. The poster used data from the group’s first “weenie count” and drew attention to the overwhelming number of female nudes counted in the Modern Art sections of The Met. The poster was rejected by the Public Art Fund in New York and was run in advertising space on New York City buses until the bus company cancelled the lease arguing that the image was “too suggestive and that the figure appeared to have more than a fan in her hand.”  
The painting was presented at the 1819 Salon and judgements weren’t all positive, and in particular, the artist was criticized for not having described accurately the anatomy of the body of the Grande Odalisque. In addition the odalisque shouldn’t be nude because odalisques are always dressed inside the harem.
With this painting Ingres invented a new genre, by transposing the mythological nude to Orient and forerunning the exotic pictorial genre which would be very successful in France.
Both women are propped up against their left arms while their right arms lie across their bodies. The position of their feet is slightly different; the odalisque’s left foot is further away from her right than in Madame Récamier. The major difference comes when Ingres adds his own personal touch; anatomical distortions. David portrays a female form truer to nature.
Ingres desired to bring the exoticism of the Orient to his canvas in the nude commissioned by the queen of Naples.
Jean-Auguste-Dominique Ingres was an incredible neo-classical artist who was known for many types of work including highly detailed portraits like Napoleon I on His Imperial Throne from 1806. Showing Napoleon on a throne, Ingres depicted him as an all-powerful being in sumptuous clothing, or in other words, a divine ruler. The painting is exquisite with incredible detailing, similar to Northern Renaissance painters like Jan Van Eyck. Even Napoleon’s pose is similar to that of ‘The Almighty’ figure in Van Eyck’s Ghent Altarpiece. And while today it is seen as an incredible work of art, in Ingres’ day, it was not well received. Today, this masterpiece can be seen at the Musée de l’Armée, Hôtel des Invalides, in Paris.
Inspired by the works of Renaissance master Raphael, Ingres also painted religious works like The Vow of Louis XIII. Shown at the 1824 Salon, this painting was an instant success, unlike the above work, due to it subject. Commissioned by the Cathedral of Montauban, where it still resides to this day, the painting is a celebration of the moment when the church and state united. The work shows Louis XIII kneeling and looking up to the heavens where the Virgin Mary and Child are looking down listening to Louis’ vow. It was this work that turned Ingres into a celebrated artist in France.