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

The early French Impressionists, such as ***** Manet, were widely condemned by the conventional ***** art critics of *****ir 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 ***** spackling of light, but a clear and more Neoclassical depiction of the forms of his subject. Manet also made ***** frequent use of ***** human body in his ***** ***** as an artist th***** his fellow Impressionists. In Manet's work, *****e posed figure of a nude human form was ********** the central object of *****, rather than nature, or human ***** *****f ***** 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 more staged or statue-***** rendition of *****ity in his w*****k entitled "*****." Yet despite these greater similarities in Manet's choice of subjects with older works in comparison to his ***** Impressionists, "Olympia" still stands in stark contrast to older ***** that depict the majesty ***** the female ***** such as Titian's "Venus of Urb*****o" although the Manet is *****ly inspired by the Titan *****.

*****'s work is a blend ***** surface classic*****m, as it shows a reclining ***** nude in the center of ***** work like Titan's "Venus of Urbino," and modern, Impressionistic realism. Unlike Titan's work, in terms of subject matter, the woman of ***** Manet is evidently a real female, ***** a goddess. ***** Titian, "Venus of Urbino" reclines in a majestic f*****hion, ***** the figures in ***** background seem withdrawn as if worshipp*****g the nude, observing goddess. But despite the woman Olympia's display ***** languor and power, a m*****id in contemporary dress attends ***** woman, ***** the goddess Venus who presides over humanity from afar, exhibit*****g herself as a divinity before her attendants, ***** is evident by the withdrawing of the ot*****, female figure in the painting. T***** 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 ***** woman ***** the artist's modern era. *****he name "*****," like the woman herself, is both classical and haughty like a Greek goddess in her arrogance, confidence, and beauty, and ***** demand ***** others serve her, yet she also quite real and human. The flower in the woman's hair as ***** as ***** woman's disheveled, ***** ***** clearly 19th century **********, draws attention to the fact that Manet's woman is still capable of adorning herself in a convention*****l and earthly manner even as she is in behav*****g

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