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 ********** "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 ***** Manet, were widely condemned by ***** conventional ***** art critics of their day ***** the French 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 ***** light, but a clear ***** more ***** depiction of the forms of his subject. Manet also made more frequent use ***** the human body in his ***** matter as an artist than his fellow Impressionists. In Manet's work, ***** posed figure of a nude human form was *****ten the central object of *****, rather ***** nature, or human ***** off to the side in a panoramic of nature or society, ***** muted or realistic settings as in ***** *****s of Renoir or Deg*****. Manet still turned to what seems like a m*****e staged or statue-like rendition of *****ity in his work entitled "Olympia." Yet despite these greater ***** in Manet's choice of subjects with older works in comparison to his ***** Impressionists, "Olympia" still stands in stark contrast to older works that depict the majesty ***** the female form ***** as Titian's "Venus of Urbino" although the Manet is clearly inspired by the Titan nude.

***** 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 of subject *****, the woman of the ***** 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 ********** as if worshipping the *****, 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, as is evident by the withdrawing of the other, female figure in the painting. T***** closer relationship between servant and mistress suggests ***** despite ***** heroic name "Olympia," which recalls the name of the ancient Greek mountain where the gods lived in antiquity, Manet's "Olympia" a ***** woman of ***** artist's modern era. *****he name "Olympia," like the woman herself, is both classical and haughty ***** a Greek ***** in her *****rrogance, confidence, and beauty, and ***** demand that others serve her, yet she also quite real and human. The flower in the woman's hair as ***** as ***** woman's d*****heveled, ***** ***** clearly 19th century *****style, 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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