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


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Artist Comparison - Manet v. Titian

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

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

*****'s work is a blend of surface classic*****m, as it shows a reclining ***** nude in the center of the work like *****'s "Venus of Urbino," and modern, Impressionistic realism. Unlike Titan's *****, in terms of subject matter, the woman of the Manet is evidently a real female, ***** a goddess. ***** Titian, "Venus of Urbino" reclines in a m*****jestic f*****hion, and the figures in ***** 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 ***** from afar, exhibit*****g herself as a divinity before her attendants, ***** is evident ***** the withdrawing ***** the ot*****, female figure in the painting. This closer relationship between servant and mistress suggests that despite the heroic name "Olympia," which recalls ***** name of the ancient Greek mountain where the gods lived in antiquity, *****'s "Olympia" a ***** woman ***** ***** artist's modern era. The name "Olympia," like the woman herself, is both classical and haughty ***** a Greek ***** in her *****rrogance, confidence, and beauty, and her demand that others serve her, yet she ***** quite real and human. The flower in the *****'s hair as ***** as the woman's disheveled, but still ***** 19th century **********, draws attention to ***** fact that Manet's woman is ***** capable of adorning herself in a convention*****l and earthly manner even as she is in behav*****g

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