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

********** work is a blend of surface classic*****m, as it shows a reclining ***** nude in the center of ***** work like ********** "Venus of Urbino," and modern, Impressionistic realism. Unlike Titan's work, in terms of subject matter, the woman of the Manet is evidently a real female, not a goddess. In Titian, "Venus ***** Urbino" reclines in a majestic f*****hion, ***** the figures in the background seem ********** as if worshipping the nude, observing goddess. But despite the woman Olympia's display of languor and power, a m*****id in contemporary dress attends ***** woman, unlike the goddess Venus who presides over ***** from afar, exhibit*****g herself as a divinity before her attendants, ***** is evident by the withdrawing ***** the ot*****, female figure in the painting. This closer relationship between servant ***** mistress suggests that despite the heroic name "Olympia," which recalls the ***** of the ancient Greek mountain where the gods lived in antiquity, *****'s "Olympia" a real woman of ***** artist's modern era. The name "*****," like the woman herself, is b*****h classical and haughty like a Greek ***** in her arrogance, confidence, and beauty, and ***** demand that others serve her, yet she ***** quite ***** and human. The flower in the *****'s hair as ***** as the woman's disheveled, ***** still ***** 19th century *****style, draws attention to the fact that Manet's woman is ***** capable ***** adorning herself in a convention*****l and earthly manner even as she is in behav*****g

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