Revealing just enough to excite the viewer, but not enough to give it away. The Odalisque playfully glances back and acknowledges the viewers presence She remains unmoved by their entry though. The viewer attends to her schedule. Jean Auguste Ingres painted Grande Odalisque in 1814 for Napoleon’s sister Caroline Murat. Opposed to classic European influences, Ingres enjoyed the exotic. He places the odalisque in a sumptuous interior full of Middle Eastern influences. The peacock fan, the hookah and the turban all point to Ingres' fascination with orientalism. Many other nudes of the time incorporated mythology; however Ingres mythology and magic reside in a far away land.

The painting received criticisms over the anatomy of its subject. The woman’s back contains more vertebrae than in reality. Some suggest this was done purposely by Ingres to highlight the fact the odalisque has one use only. By adding more vertebrae, the pelvic area is highlighted. Her social role defines everything about her life. Her existence revolves around pleasing and pleasuring her master.

What separates Grande Odalisque, from different paintings of seduction, remains that nothing is shown. She turns away from the viewer into a secretive pose. Unlike Olympia who acknowledges her place in the space, Odalisque shies away from the gaze of the viewer. She appears sensuous, yet reserved, beckoning the viewer to engage her.