what is anatomically unnatural about the figure in the painting titled grand odalisque
The initial response towards the piece was the close and brutal examination of the women’s body’s proportions and the lack of realism on anatomical level (Grande Odalisque 2). Ingres was not aware however, that in a year, Manet’s Olympia, would be admired by the whole art exhibition community making it unfair his time.
Both artists’ pieces are influenced by the near East exoticism; to be more specific, Matisse’s, The Woman with a Hat, was painted in south France, when at the time, traveling between continents started to become a more efficient possibility, resulting in increased numbers of different cultures emerging from human trade and ending up in south France.
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.”  
Another interpretation of this painting suggests that since the duty of some concubines was merely to satisfy the carnal pleasures of the sultan, this elongation of her pelvic area may have been a symbolic distortion by Ingres. While this may represent sensuous feminine beauty, her gaze, on the other hand, has been said to “[reflect] a complex psychological make-up” or “[betray] no feeling”. In addition, the distance between her gaze and her pelvic region may be a physical representation of the depth of thought and complex emotions of a woman’s thoughts and feelings. 
By “that,” of course, I mean, “accomplish that strange graphical flatness without sacrificing a sense of volume and verisimilitude.” This is what that trixy sonofabitch Ingres did that is so mystifying.
In fact, this lighting scenario produces something rarely seen in reality: an actual outline. Because views of rounded objects always terminate in edges turning away from the viewer, the dimming of turning planes results in a distinctly dark edge. Here reality merges with line drawing, and a scenario occurs in which an object can be drawn largely with contour lines and still retain realism.
Museums around the world are filled with art commissioned by the church, the state, and other powerful institutions and individuals. All of this art was political as it reinforced a particular world view. Artists did not receive commissions unless they could clearly and effectively convey their patrons’ ideology. That much of this art is no longer considered political is evidence of a lack of historical and art historical understanding.
The posters in MasterPeaces use earlier art to focus on contemporary issues, including anti-nuclear, anti-war, disabled rights, ecology, HIV/AIDS, sexism and homophobia, and women’s rights. The alteration can be as simple as placing text over an original work to change its context, as in “War is Good Business, Invest Your Son.” Or a piece can be completely reworked as in “Evolve or Dissolve” (1991) by “O”, where the single figure in Munch’s The Scream (1893), has been multiplied into countless terrified and ethnically diverse people, screaming as they run from burning oil wells during the first Gulf War.
It has been said that every movie has its own historical moment, to a larger or lesser extent. This dictum can be applied to painting if we delve into the history of how and why an artist chose the �moment� to paint.
Ah, that turban! How it bespeaks Ingres devotion to Raphael�s turbaned Madonna della Sedia