Some of the best paintings were made using oil paint. The most realistic ones were by the great artists from the Renaissance. The subjects for the works made during this era were essentially religious, evolving around concepts with an abundance of cherubs, biblical characters, gods and goddesses.
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.
The woman on the painting stares at you point blank which was a huge statement if you compare it to the Venus equivalent. It was as if Manet meant the asymmetry of her face to say that no female face is symmetrical and as perfect as a goddess and that is still worthy of making into art.
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.
Revolutionary is what this piece became when released to the public during its time. And like any work made for that purpose, was met with disdain, laughter and criticism. Manet effectively broke tradition and was unapologetic about showing his perspective on reality. France of 1865 was not ready to face the truth that the goddess they come to know has been reduced into a courtesan, especially one that stares you dead straight in the eye.
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.
The woman on the painting stares at you point blank which was a huge statement if you compare it to the Venus equivalent. It was as if Manet meant the asymmetry of her face to say that no female face is symmetrical and as perfect as a goddess and that is still worthy of making into art.
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.
Revolutionary is what this piece became when released to the public during its time. And like any work made for that purpose, was met with disdain, laughter and criticism. Manet effectively broke tradition and was unapologetic about showing his perspective on reality. France of 1865 was not ready to face the truth that the goddess they come to know has been reduced into a courtesan, especially one that stares you dead straight in the eye.
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