Art has always been a great way to chronicle the culture of man. Different styles and techniques have been used throughout history and its use has continued to be relevant for millennia. Techniques are as interesting as the subjects artists choose because this gives viewers a good impression on what motivates the culture of each era.
Venus was a favorite subject especially when portraying nudes. Another notable thing with traditional art is how they are so incredibly life like. Pieces made during this time barely showed brush strokes even when painting using oil, which is a very thick medium. Manet was that one artist that defied all things traditional with his oil painting Olympia.
The thing with late Renaissance art was that it was very heavily rooted to technique and how well it was able to portray anatomy and physics of the objects in the painting. This piece by Manet was essentially a parody of Venus of Urbino, notable for its subject, the goddess Venus laying on a chair like bed in the nude. Nudes then were not at all seen as lewd, but this artwork by Manet was an exception.
Instead of Venus, her being a symbol of greatness and purity, he used Olympia. The setting was in France 1865. Around the time, the name Olympia was common among prostitutes and to support that claim, you can see a black choker around her neck which was a sign that would tell people what a woman did for a living.
Manet probably was not doing this for shock value. Notice that this is no ordinary prostitute since she has a servant handing her some flowers. The flowers look like they came from a suitor or a patron. Nudes then of goddesses and historical figures were not vulgar, but rather, coy. This one, in particular, was a great exception at the time.
It gives you the impression that this era of France was hung up on the convoluted perception of beauty and the standard was that of royalty or deity. One thing that makes the subject stand out is how it deliberately stares at you, straight in the eye, as if it was coaxing you for looking at her. Most nudes of Venus made during this time always had the subject looking away, if even at all.
This feature is not the only thing that makes it sexual. Notice that there are barely any details on shadow and contrary to what was conventional at the time, brush strokes can be clearly seen. It was as if the artist wanted people to make sure they knew they were looking at a painting. What makes it eternally captivating is the honesty that viewers are forced to see.
This painting effectively became something revolutionary and is a genius way to cross abstraction with traditional realism. Then it would have been considered as a bad painting. But it is general understanding that if the piece is able to evoke emotion. It can never be considered as bad art.
Just like anything unconventional, Olympia was met with jeers, laughter and so much criticism. Manet was as much a painter as he was a revolutionist. His honesty regarding aesthetic and his personal interpretation of beauty was bold and this shook the art community of 1865 France. This artworks is one of many pieces reminding people that a single act of revolt as non violent as an image on a canvas can turn the world.
Venus was a favorite subject especially when portraying nudes. Another notable thing with traditional art is how they are so incredibly life like. Pieces made during this time barely showed brush strokes even when painting using oil, which is a very thick medium. Manet was that one artist that defied all things traditional with his oil painting Olympia.
The thing with late Renaissance art was that it was very heavily rooted to technique and how well it was able to portray anatomy and physics of the objects in the painting. This piece by Manet was essentially a parody of Venus of Urbino, notable for its subject, the goddess Venus laying on a chair like bed in the nude. Nudes then were not at all seen as lewd, but this artwork by Manet was an exception.
Instead of Venus, her being a symbol of greatness and purity, he used Olympia. The setting was in France 1865. Around the time, the name Olympia was common among prostitutes and to support that claim, you can see a black choker around her neck which was a sign that would tell people what a woman did for a living.
Manet probably was not doing this for shock value. Notice that this is no ordinary prostitute since she has a servant handing her some flowers. The flowers look like they came from a suitor or a patron. Nudes then of goddesses and historical figures were not vulgar, but rather, coy. This one, in particular, was a great exception at the time.
It gives you the impression that this era of France was hung up on the convoluted perception of beauty and the standard was that of royalty or deity. One thing that makes the subject stand out is how it deliberately stares at you, straight in the eye, as if it was coaxing you for looking at her. Most nudes of Venus made during this time always had the subject looking away, if even at all.
This feature is not the only thing that makes it sexual. Notice that there are barely any details on shadow and contrary to what was conventional at the time, brush strokes can be clearly seen. It was as if the artist wanted people to make sure they knew they were looking at a painting. What makes it eternally captivating is the honesty that viewers are forced to see.
This painting effectively became something revolutionary and is a genius way to cross abstraction with traditional realism. Then it would have been considered as a bad painting. But it is general understanding that if the piece is able to evoke emotion. It can never be considered as bad art.
Just like anything unconventional, Olympia was met with jeers, laughter and so much criticism. Manet was as much a painter as he was a revolutionist. His honesty regarding aesthetic and his personal interpretation of beauty was bold and this shook the art community of 1865 France. This artworks is one of many pieces reminding people that a single act of revolt as non violent as an image on a canvas can turn the world.
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