This paper examines Gérôme’s *A Roman Slave Market* through the lens of postcolonial theory, interrogating the power dynamics embedded in the "gaze" within 19th-century Orientalist painting. Building on Edward Said’s *Orientalism* and Michel Foucault’s conceptualization of the "gaze," the study uncovers how the artwork employs visual coding and spatial narratives to construct the Orient as an exoticized, gendered "Other," thereby reinforcing the ideological underpinnings of Western colonial expansion. Orientalist painting, in this context, transcends mere aesthetic practice, functioning instead as a medium of cultural hegemony. By enacting "visual violence," it naturalizes colonial logic, perpetuates the East-West dichotomy, and opens avenues for critical reflection on the enduring colonial legacies in art history.