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 ***** differences in subject as well as the formal elements ***** line, shape, value, texture and color

***** early French Impressionists, such as Edouard Manet, were widely condemned by ***** conventional ***** art critics of their day ***** the French artistic academy for spurning conventional Neoclassical subject 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 than his fellow Impressionists. In Manet's work, the posed figure of a nude human form was ***** the central object of depiction, rather than nature, or human ***** ********** to the side in a panoramic of nature or society, in muted or realistic settings as in the *****s of Renoir or Deg*****. Manet still turned to what seems like a ***** staged or statue-like rendition ***** *****ity in his w*****k entitled "Olympia." Yet despite *****se greater similarities in *****'s choice of subjects with older works in comparison to his fellow Impressionists, "Olympia" still stands in stark contrast to older ***** that depict the majesty of ***** female form ***** as ***** "Venus of Urbino" although the Manet is *****ly inspired by the Titan *****.

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


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