Olympia is a painting by ÃÆ' â € ° douard Manet, first showcased at Paris Salon 1865, which shows a naked woman ("Olympia") lying on a bed carrying flowers by a waiter. Olympia is modeled by Victorine Meurent and waitress of Olympia by Laure's art model. Olympia's confrontational gaze caused surprise and amazement when the painting was first exhibited because a number of details in the picture identified him as a prostitute. The French government obtained the painting in 1890 after a public subscription organized by Claude Monet. The painting is on display at MusÃÆ'Â © e d'Orsay, Paris.
Video Olympia (Manet)
Accounts
What surprises contemporary audiences is not the nakedness of Olympia, or the presence of a well-dressed waiter, but his confrontational gaze and details identifying himself as a mondaine or prostitute. These include orchids in his hair, bracelets, pearl earrings and oriental scarves where he lies, a symbol of richness and sensuality. The black ribbon around his neck, in sharp contrast to his pale skin, and the sandals he threw underlined the exciting atmosphere. "Olympia" is a name associated with prostitutes in the 1860s Paris.
This painting was modeled after Titian Venus of Urbino (1538). While the left hand of Venus Titian is curled up and looks attractive, Olympia's left hand is obstructed, which has been interpreted as a symbol of his sexual independence from men and his role as a prostitute, granting or restricting access to his body in exchange for payment. Manet replaces a small dog (symbol of loyalty) in Titian paintings with black cats, which traditionally symbolize prostitution. Olympia humbly ignored the flowers presented to her by her maid, possibly a gift from a client. Some people suggested that he was looking toward the door, because his client broke in without notice.
The painting deviates from the academic canon in style, characterized by sweeping sweeping brushstrokes, studio lighting that removes the middle tones, large color surfaces, and shallow depths. Unlike the delicate Alexandre Cabanel's nude ideal of La naissance de VÃ © nus , also painted in 1863, Olympia is a true woman whose nudity is emphasized by harsh lighting. The canvas itself is 51.4 x 74.8 inches, which is rather large for this genre-style painting. Most paintings of this size depict historical or mythological events, so the size of the work, among other factors, causes a shock. Finally, Olympia is quite thin by the artistic standards of time and its relatively undeveloped body is more feminine than female. Charles Baudelaire thought thinness was more obscene than obesity.
The model for Olympia, Victorine Meurent, became a master painter in its own right.
Maps Olympia (Manet)
Precedent
In part, the painting was inspired by Titian's Venus of Urbino (c 1538), which in turn refers to Giorgione Sleeping Venus (c 1510). LÃ © so the BÃÆ' Â © nÃÆ' Â © dite was the first art historian to explicitly acknowledge the similarities with the Venus of Urbino in 1897. There are also some similarities with Francisco Goya La maja desnuda (c) 1800).
There is also a pictorial precedent for a naked woman, attended by a black maid, such as Ingres' Odalisque with a Budak (1842), LÃÆ'Â © in Benouville's Esther with Odalisque (1844 ) and Charles Jalabert's Odalisque (1842). Comparisons were also made for Ingres 'Grande Odalisque' (1814). Unlike other artists, Manet does not describe a goddess or odalisque but a high class prostitute waits for clients.
Critical reaction
Although Manet's The Luncheon on the Grass sparked controversy in 1863, its Olympia caused a bigger uproar when first exhibited in 1865 Paris Salon. The Conservatives denounced the work as "immoral" and "vulgar." Journalist Antonin Proust later recalled, "If the Olympian canvas is not destroyed, it is only because of the precautions taken by the government." Critics and the public condemned the work. Even Zola's miles are reduced to dishonest comments on the formal quality of work rather than admitting the subject matter, "you want to be naked, and you choose Olympia, the first to come." He paid tribute to Manet's honesty, however, "When our artists gave us Venuses, they were true nature, they lied." Douard Manet asked himself why lying, why not tell the truth; he introduced us to Olympia, this fille of our time, which you meet on the sidewalk. " Olympia's Maid
Although initially ignored, the auxiliary figure in the painting, modeled by a woman named Laure, has become a topic of discussion among contemporary intellectuals. As TJ Clark recounted the distrust of a friend in a revised 1990 version of the Paintings of Modern Life: "You have written about white women in bed for fifty pages and over, and hardly mention black women in beside it. " Olympia was created 15 years after slavery was abolished in France but racial stereotypes continued. In some cases, white whores in paintings are depicted using racist language. "The reference to Blackness thus invaded the image of white Olympia, turning it into a strange and bizarre animal that Black people often made to represent in the nineteenth century"
Many critics have praised Manet for its white and black use in paintings, an alternative to the chiaroscuro tradition. Charles Bernheimer said,
The black servant was not [...] only a darker companion to Olympia's white skin, but a symbol of darkness, threatening, anomalous sexuality hiding under the hands of Olympia. At least, this is the figure of a fantasy Manet servant who may have been exciting to the male audience of 1865.
Black feminists have rejected his reading and argue that it is not for the artistic convention that Manet enters Laure but to create an ideological binary between black and white, good and bad, clean and dirty and "definitely reformulate the Cartesian perspective logic that permits whiteness to function. as the only subject of consideration ". When paired with lighter skin tones, the Black model serves as a marker for all Western racial stereotypes.
Confrontational View and Opposition View
In Lorraine O 'Grady's essay titled "Olympia's Maid: Reclaiming Black Female subjectivity," he asserted, "Olympia's helper, like all other' Negro peripherals', is a robot that is comfortably made to disappear into the background of the curtains. While the confrontational gaze of Olympia is often referred to as the culmination of insubordination against patriarchy, the opposition's gaze of Olympian auxiliaries is ignored; he is part of the background with little or no attention given to the important role of his presence.
O'Grady points out that we know he represents 'Jezebel and Mammy' "and most importantly, he is not a real person...", but he objected to objections and was excluded from sexual differences according to Freudian theory. While Olympia looks directly at the viewer, his maid also, looking back. In his essay "Mammy, Jezebel, Sapphire and Their Homegirls: Developing an Opposition View of a Black Woman Image", Catherine West concludes that by claiming an opposition gaze we can identify, criticize, reject and change this and other Black oppressive images. woman.
Events
In January 2016, a Luxembourg artist, Deborah De Robertis, lay on the floor in front of the painting and imitated the subject pose, and then the security guard closed the room and the police arrested him.
Homages
- A Modern Olympia , Paul CÃÆ' © zanne, c. 1873/74.
- Odalisque I. Looking at the Manet. Olympia and A Family , Louis le Brocquy.
- Portrait (Futago) , Yasumasa Morimura.
- "Somms Recreating Old Masters: Series 1", Mark Shipway, c. 2015.
Resources and resources
- References
- Source
- Ross King. The Judgment of Paris: The Revolutionary Decade Giving the World of Impressionism . New York: Waller & amp; Company, ISBN 2006 0-8027-1466-8. See pages 105-108.
- Eunice Lipton. Aliases â € <â €
- V.R. Main. A Woman Without a Dress Above . London: Delancey Press, 2008 ISBNÃ, 978-0-9539119-7-4.
External links
- Olympia in MusÃÆ'Â| e d'Orsay
- Phylis A. Floyd, Puzzle Olympia
- Seibert, Margaret Mary Armbrust. Biography of Victorine-Louise Meurent and Its Role in Art ÃÆ' â € ° douard Manet . Diss. The Ohio State University, 1986.
Source of the article : Wikipedia
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