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 ***** 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 ***** to render, not simply ***** spackling of light, but a clear and more ***** depiction of the forms of his subject. Manet also made ***** frequent use of ***** human body in his subject matter as an artist th***** his fellow Impressionists. In Manet's work, *****e posed figure of a nude human form was often the central object of depiction, rather than nature, or human ***** *****f ***** the side in a panoramic of nature or society, ***** muted or realistic settings as in the *****s of Renoir or Degas. Manet still turned to what seems like a more staged or statue-like rendition of humanity in his w*****k entitled "*****." Yet despite *****se greater ***** in *****'s choice of subjects with older works in comparison to ***** fellow Impressionists, "Olympia" still stands in stark contrast to older ***** that depict the majesty ***** the female ***** such as Titian's "Venus of Urbino" although the Manet is *****ly inspired by the Titan nude.

*****'s work is a blend of surface classicism, as it shows a reclining female nude in the center of the work like *****'s "Venus of Urbino," and modern, Impressionistic realism. Unlike Titan's *****, in terms ***** subject *****, the woman of the Manet is evidently a real female, ***** a goddess. In Titian, "Venus ***** Urbino" reclines in a m*****jestic f*****hion, and the figures in the background seem withdrawn as if worshipping the *****, observing *****. But despite the woman Olympia's display of languor and power, a maid in contemporary dress attends ***** woman, unlike the goddess Venus who presides over ***** from afar, exhibiting herself as a divinity before her attendants, as is evident by the withdrawing of the other, female figure in the painting. This closer relationship between servant ***** mistress suggests ***** despite the heroic name "Olympia," which recalls the ***** ***** the ancient Greek mountain where the gods lived in antiquity, *****'s "Olympia" a ***** woman of ***** artist's modern era. The name "Olympia," like the woman herself, is both classical and haughty ***** a Greek goddess in her arrogance, confidence, and beauty, and ***** demand that *****s serve her, yet she also quite real and human. The flower in the *****'s hair as ***** as the woman's d*****heveled, ***** ***** clearly 19th century hair*****, draws attention to the fact that Manet's woman is still capable ***** adorning herself in a conventional and earthly manner even as she is in behaving


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