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 and differences in subject as well as the formal elements of line, shape, value, texture and color

***** early French Impressionists, such as Edouard Manet, were widely condemned by the conventional French art critics of *****ir day ***** the ***** artistic academy for spurning conventional Neoclassical ***** matter and style and techniques of the Old Masters. However, unlike his compatriot Impressionist Claude Monet, ***** 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 ***** the human body in his ***** matter as an artist than ***** fellow Impressionists. In Manet's work, the posed figure of a nude human form was *****ten the central object of *****, rather ***** nature, or human ***** off to the side in a panoramic of nature or society, ***** muted or realistic settings as in ***** works of Renoir or Deg*****. Manet still turned to what seems like a m*****e staged or statue-***** rendition of humanity in his work entitled "*****." 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 works that depict the majesty ***** ***** female form ***** as Titian's "Venus of Urbino" although the Manet is *****ly inspired by the Titan nude.

***** work is a blend of surface classic*****m, as it shows a reclining female nude in the center of ***** work like ********** "Venus of Urbino," and modern, Impressionistic realism. Unlike Titan's *****, in terms ***** subject *****, the woman of the ***** is evidently a real female, ***** a goddess. ***** Titian, "Venus of Urbino" reclines in a m*****jestic f*****hion, ***** the figures in ***** background seem withdrawn as if worshipp*****g the nude, observing goddess.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 maid in contemporary dress attends the woman, unlike ***** goddess Venus who presides over humanity from afar, exhibit*****g herself as a divinity before her attendants, ***** is evident by the withdrawing of ***** other, female figure in the painting. This closer relationship between servant and mistress suggests ***** despite the heroic name "Olympia," which recalls ***** ***** of the ancient Greek mountain where the gods lived in antiquity, Manet's "Olympia" a real woman ***** ***** artist's modern era. The name "Olympia," like the woman herself, is both classical and haughty like a Greek ***** in her *****rrogance, confidence, and beauty, and her demand that ot*****s serve her, yet she also quite ***** and human. The flower in the woman's hair as well as ***** woman's disheveled, ***** ***** clearly 19th century hair*****, 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 behaving


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