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 ********** "Venus of Urbino," considering the similarities ***** differences in subject as well as the formal elements of line, shape, value, texture and color

***** early French Impressionists, such as ***** Manet, were widely condemned by the conventional ***** art critics of their day and 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 line 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 ***** ***** as an artist th***** ***** fellow Impressionists. In Manet's work, ***** posed figure of a nude human form was ***** *****e 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 ***** works of Renoir or Deg*****. Manet still turned to what seems like a ***** staged ***** statue-like rendition of humanity in his work entitled "Olympia." Yet despite these greater similarities in Manet's choice of subjects with older works in comparison to his fellow Impressionists, "Olympia" still stands in stark contrast to older ***** that depict the majesty ***** ***** female ***** such as Titian's "Venus of Urbino" although the Manet is clearly inspired by the Titan nude.

***** work is a blend ***** surface classic*****m, as it shows a reclining female nude in the center of the work like Titan's "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. ***** Titian, "Venus ***** Urbino" reclines in a m*****jestic f*****hion, and the figures in ***** background seem ********** as if worshipp*****g the nude, observing goddess. But despite the 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, exhibiting herself as a divinity before her attendants, as is evident ***** the withdrawing ***** ***** other, female figure in the painting. This closer relationship between servant and mistress suggests ***** despite the heroic name "Olympia," which recalls the name of ***** ancient Greek mountain where the gods lived in antiquity, *****'s "Olympia" a real woman ***** the artist's modern era. The name "Olympia," like the woman herself, is both classical and haughty like a Greek goddess in her *****rrogance, 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, but still clearly 19th century **********, draws attention to the fact that Manet's woman is ***** capable of adorning herself in a conventional and earthly manner even as she is in behaving

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