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 and 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 the conventional French art critics of ********** day and 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 ***** spackling ***** light, but a clear and more Neoclassical depiction of the forms of his subject. Manet also made more frequent use of the human body in his ***** ***** as an artist than his fellow Impressionists. In Manet's work, the posed figure of a nude human form was ***** the central object ***** *****, rather than nature, or human nature off to 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 m*****e staged or statue-like rendition ***** humanity in his work entitled "Olympia." Yet despite these greater similarities in Manet's 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 form ***** as Titian's "Venus ***** Urb*****o" although the Manet is ********** inspired by the Titan nude.

***** work is a blend of surface classicism, as it shows a reclining female nude in the center of the work like *****'s "Venus ***** Urbino," and modern, Impressionistic realism. Unlike Titan's work, in terms of subject matter, the woman of the Manet is evidently a real female, ***** a goddess. In Titian, "Venus ***** Urbino" reclines in a majestic fashion, and the figures in ***** background seem withdrawn as if worshipp*****g the nude, observing goddess. But despite ***** woman Olympia's display of languor and power, a m*****id in contemporary dress attends the woman, unlike the goddess Venus who presides over humanity from afar, exhibit*****g herself as a divinity before her attendants, as is evident ***** the withdrawing of ***** other, female figure in the painting. This closer relationship between servant ***** mistress suggests ***** despite the heroic na***** "Olympia," which recalls ***** name of the ancient Greek mountain where the gods lived in antiquity, Manet's "Olympia" a real woman of ***** artist's modern era. The name "*****," like the woman herself, is both cl*****sical and haughty ***** a Greek goddess in her arrogance, confidence, and beauty, and her demand that *****s serve *****, yet she ***** quite real and human. The flower in the *****'s hair as ***** as the woman's disheveled, but ***** clearly 19th century *****style, draws attention to the 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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