Essay - Artist Comparison - Manet v. Titian Compare and Contrast Edouard...

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Artist Comparison - Manet v. Titian

Compare and contrast Edouard Manet's "Olympia" with Titian's "Venus of Urbino," considering the similarities and differences in subject as well as the formal elements ***** line, shape, value, texture and color

The early French Impressionists, such as Edouard Manet, were widely condemned by the conventional ***** art critics of their day ***** the French artistic academy for spurning conventional Neoclassical ***** matter and style and techniques of the Old Masters. However, unlike his compatriot Impressionist Claude Monet, ***** Manet often deployed sharper use of brushstrokes and ***** to render, not simply the spackling of light, but a clear and more Neoclassical depiction of ***** forms of his subject. Manet also made more frequent use of the human body in his subject ***** as an artist th***** ***** fellow Impressionists. In Manet's work, ***** posed figure of a nude human form was ***** the central object of *****, rather than nature, or human nature off ***** the side in a panoramic of nature or society, ***** muted or realistic settings as in the works of Renoir or Degas. Manet still turned to what seems like a ***** staged or statue-***** rendition of humanity in his work entitled "Olympia." Yet despite these greater ***** in Manet's choice of subjects with older works in comparison to ***** fellow Impressionists, "Olympia" still stands in stark contrast to older ***** that depict the majesty of ***** female ***** ***** as ***** "Venus of Urbino" although the Manet is clearly inspired by the Titan nude.

***** work is a blend of surface classic*****m, as it shows a reclining ***** nude in the center of ***** work like Titan's "Venus ***** Urbino," and modern, Impressionistic realism. Unlike ***** *****, in terms of subject matter, the woman of ***** Manet is evidently a real female, not a goddess. ***** Titian, "Venus of Urbino" reclines in a majestic fashion, ***** the figures in the background seem *****drawn as if worshipp*****g the *****, observing *****. But despite ***** woman Olympia's display of languor and power, a maid in contemporary dress attends the woman, ***** the goddess Venus who presides over humanity from afar, exhibit*****g herself as a divinity before her attendants, ***** is evident by the withdrawing of the ot*****, female figure in the painting. This closer relationship between servant ***** mistress suggests ***** despite the heroic name "Olympia," which recalls ***** name of the ancient Greek mountain where the gods lived in antiquity, Manet's "Olympia" a ***** woman of ***** artist's modern era. The name "Olympia," like the woman herself, is both classical and haughty ***** a Greek ***** in her arrogance, confidence, and beauty, and her demand that others serve her, yet she ***** quite real and human. The flower in the woman's hair as ***** as the woman's disheveled, ***** ***** clearly 19th century hairstyle, draws attention to the fact ***** Manet's woman is still capable of adorning herself in a convention*****l and earthly manner even as she is in behaving


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