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 ***** 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 the conventional French art critics of their day ***** the ***** 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 ***** light, but a clear and more Neoclassical depiction of ***** forms of his subject. Manet also made ***** frequent use ***** the human body in his subject matter as an artist th***** his fellow Impressionists. In Manet's work, ***** posed figure of a nude human form was *****ten the central object of *****, rather than nature, or human nature ********** ***** 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 m*****e staged or statue-like rendition of *****ity in his w*****k entitled "Olympia." Yet despite ********** greater similarities in ********** choice of subjects with older works in comparison to ***** fellow Impressionists, "Olympia" still stands in stark contrast to older ***** that depict the majesty ***** ***** female ***** ***** as ***** "Venus of Urb*****o" although the Manet is clearly inspired by the Titan nude.

***** work is a blend of surface classicism, 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 the Manet is evidently a real female, ***** a goddess. ***** Titian, "Venus of Urbino" reclines in a m*****jestic f*****hion, and the figures in the background seem *****drawn as if worshipping the *****, observing goddess. But despite ***** woman Olympia's display of languor and power, a maid in contemporary dress attends the woman, ***** ***** 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 that despite ***** heroic name "Olympia," which recalls the ***** of ***** ancient Greek mountain where the gods lived in antiquity, Manet's "Olympia" a ***** woman of the artist's modern era. The name "Olympia," like the woman herself, is both classical and haughty like a Greek ***** in her *****rrogance, confidence, and beauty, and her demand that others serve her, yet she also quite real and human. The flower in the *****'s hair as well as the woman's d*****heveled, but ***** ***** 19th century **********, draws attention to ***** fact that 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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