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 of line, shape, value, texture and color

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

*****'s work is a blend ***** surface classicism, as it shows a reclining female nude in the center of ***** work like ********** "Venus of Urbino," and modern, Impressionistic realism. Unlike Titan's *****, in terms ***** subject matter, the woman of the Manet is evidently a real female, ***** a goddess. In Titian, "Venus of Urbino" reclines in a m*****jestic f*****hion, and the figures in the background seem withdrawn as if worshipping the nude, observing goddess. But despite ***** woman Olympia's display of languor and power, a maid in contemporary dress attends the woman, unlike ***** goddess Venus who presides over humanity from afar, exhibiting 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 name ***** the ancient Greek mountain where the gods lived in antiquity, *****'s "Olympia" a real woman of the artist's modern era. The name "Olympia," like the woman herself, is b*****h classical and haughty ***** a Greek ***** in her *****rrogance, confidence, and beauty, and ***** demand ***** others serve her, yet she ***** quite real and human. The flower in the woman's hair as well as ***** woman's d*****heveled, ***** still clearly 19th century hairstyle, draws attention to the fact that Manet's woman is ***** capable ***** adorning herself in a conventional and earthly manner even as she is in behaving


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