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 *****'s "Venus of Urbino," considering the similarities and 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 French 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, Edouard Manet often deployed sharper use of brushstrokes and ***** to render, not simply the spackling ***** light, but a clear and more ***** depiction of the forms of his subject. Manet also made ***** frequent use of 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 ***** *****e central object ***** *****, rather than nature, or human nature off to the side in a panoramic of nature or society, ***** muted or realistic settings as in the works of Renoir or Deg*****. Manet still turned to what seems like a m*****e staged or statue-like rendition of humanity in his work entitled "*****." Yet despite these greater ***** in ********** choice of subjects with older works in comparison to ***** fellow Impressionists, "Olympia" still stands in stark contrast to older ***** that depict the majesty of ***** female ***** ***** as Titian's "Venus ***** Urbino" although the Manet is *****ly inspired by the Titan *****.

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


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