Article Title
Moroccan Painting Through the Eyes of the Other
Abstract
This article explores the reception of Moroccan painting through the gaze of its mediators—especially art criticism—in a context where art history and academic criticism remain underdeveloped. Drawing on Alain Flamand’s Regard sur la peinture contemporaine au Maroc (1983), it discusses debates on originality, origins, and evaluation in Moroccan pictorial production. The paper highlights the critic’s role as an intermediary between the artist, the art market, and the public, and points to the limits of a largely occasional, journalistic criticism often shaped by literary criteria. It concludes by suggesting conditions for building a criticism rooted in Moroccan culture, supported by training, institutional infrastructures, and archival resources.