![]() ![]() She is thinking, and she's confronting us even as we look at her. The representations of the academic artists always show Venus or other nudes in a coy way. When we look at ancient Greek sculpture or Renaissance paintings of the nude, we have a woman who's perfectly beautiful and you can see her face is asymmetrical and her lips are a little bit too thin. So how do you know she looks like a real woman as opposed to a Venus? - Her features are not idealized. Her name is Olympia and she looks very much like a real woman in a real apartment in Paris. Very established ideas, ideas that seemed as natural as the sun coming up in the morning. ![]() Great art was based on theĬlassical and the Renaissance, and what someone like Manet is doing is challenging those Was no point in looking for what was new or different because what great art was self-evident. Idea that there was a definition of great art and there And so of course it hadĪlready marked value, but at the same time it was art that was formulaic, that was expected. These were the leading artists of the time that were saying this art is of quality. For one,īecause it had the stamp of the official state. That was associated with the government of France. So by academic art, we're talking about the kind of art that was sanctioned by the official academy ![]() But he's also strippingĪway that veil of mythology. The academic technique of the representation of The immediate model for Manet was Titian's Venus of Urbino, except he's stripping away That we're looking at here at the Musee d'Orsay is clearly drawing on those traditions, but doing Tradition, that goes back to the ancient GreeksĪnd Romans in sculptures, for example, of the goddess Venus modestly covering her body after her bath and Manet in this painting Tradition of the female nude represented in the mostĮrotic sensuous way clothed by mythology orĬlothed by sheer beauty. ![]()
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