Pedestal [Woman of Algiers] 1862

This pedestal for Charles Cordier’s "Woman of Algiers" employs bronze and marble to create a fitting plinth for a sculpture that exemplified the artist’s ethnographic approach to art making. Cordier produced this pedestal at a time when the French state was deeply involved in colonial expansion, particularly in Algeria. The pedestal's design is not merely decorative; its symbols are deliberate. Note the inclusion of North African weaponry and emblems that signal Cordier's attempt to present a romantic yet authoritative vision of Algerian identity. This approach reflects the broader Orientalist fascination that was prevalent in European art of the 19th century. By examining archival material such as colonial-era publications, exhibition catalogues, and Cordier's own writings, we can better understand how art was used as a tool for cultural representation and, at times, misrepresentation, during this period of imperial expansion. This understanding challenges us to consider how art institutions today display and interpret works that have such complex origins.