pcal ge pad 011101 Gil Elvgren (1914-1980)

The composition presents a striking juxtaposition of Western and Eastern visual tropes, arranged within a calendar format. A woman, rendered in a style reminiscent of pin-up art, dominates the foreground. She is depicted reclining on what appears to be a stylized rug or cushion, her pose suggestive of both languid sensuality and playful invitation. Her attire consists of an elaborate headdress adorned with jewels and a revealing costume that exposes her midriff. The woman holds a small, ornate fan, which she directs towards the viewer, further emphasizing a sense of engagement and allure.
Behind this figure, partially obscured by a swirling vaporous form, is the portrait of a man. He is depicted in traditional Middle Eastern attire – a turban and flowing beard – with an expression that seems to convey both benevolence and perhaps a touch of bemusement. The ethereal quality of the smoke-like substance connecting them suggests a fantastical or dreamlike scenario.
The calendar elements – the date (January 11th), day of the week (Thursday), and language notations (German, French, English) – anchor the image within a specific temporal context. This juxtaposition of the exoticized female figure with the traditional male portrait, all framed by the mundane structure of a calendar, creates an intriguing tension.
Subtexts embedded in this work revolve around themes of cultural appropriation, Orientalism, and the commodification of desire. The woman’s pose and attire are clearly intended to evoke a sense of fantasy and exoticism, while the inclusion of the man reinforces stereotypical representations of Middle Eastern men as benevolent figures offering service or fulfillment. The calendar format suggests that these fantasies are packaged and sold as part of everyday life, reinforcing their normalization within Western culture. The artist’s signature in the lower left corner adds a layer of personal authorship to this constructed narrative. Overall, the work appears to be a commentary on the interplay between cultural stereotypes, consumerism, and the construction of desire.