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1863 : Manet, Olympia (en.)

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… feminine nude cultivated by Titian, Giorgione, Goya, the odalisque with her black slave by Ingres
found their legitimacy under a mythological cover, allegorical or symbolic

the character of Manet does not meet these criteria:
It is, very clearly, a prostitute who is waiting for his client
... in a crude light, Venus has become a prostitute, challenging the viewer with her calculating look
this profanation of the idealized nude provoked a violent reaction: critics attacked the "yellow-bellied odalisque"

Publié dans : Art & Photos
  • @johndemi , gràcies ... thank you, John. A big hug.
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  • Wonderful presentation Olga,thank you.un abrazo muy grande.
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  • Beautiful presentation. Thank you very much, Olga!
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1863 : Manet, Olympia (en.)

  1. 1. ... in a crude light, Venus has become a prostitute, challenging the viewer with her calculating look this profanation of the idealized nude provoked a violent reaction: critics attacked the "yellow-bellied odalisque"
  2. 2. … feminine nude cultivated by Titian, Giorgione, Goya, the odalisque with her black slave by Ingres found their legitimacy under a mythological cover, allegorical or symbolic the character of Manet does not meet these criteria It is, very clearly, a prostitute who is waiting for his client ... the viewer?
  3. 3. 1863 : Manet, Olympia
  4. 4. MANET, Edouard Olympia 1863 Musée d'Orsay, Paris
  5. 5. a servant stares at the young women suggestively, bringing her a bouquet-perhaps a gift from an admirer, or even a client
  6. 6. the little cat with a green sharp glance, a perked tail, is often perceived an as erotic allusion that reinforces the licentious atmosphere of the scene
  7. 7. 1863 Manet, Olympia : his illustrious predecessors
  8. 8. TIZIANO Vecellio The Venus of Urbino 1538 Galleria degli Uffizi, Florence
  9. 9. the Manet’s Olympia pose it is rather less lascivious than those of the models borrowed from Manet’s illustrious predecessors : Giorgione’s Dresden Venus, Titian Urbino’s Venus
  10. 10. GOYA Y LUCIENTES, Francisco de The Nude Maja 1799-1800 Museo del Prado, Madrid
  11. 11. Goya’s Maja Desnuda is much more provocative : no hand to hide …
  12. 12. INGRES, Jean- Auguste-Dominique Odalisque with Slave 1839-1840 Fogg Art Museum, Harvard University, Cambridge
  13. 13. the blue blanket reveals a corner of its quilted lining… Yellow under the cover of purity (blue) lies a prostitute (yellow) … an extremely male-chauvinistic 19th-century view of womanhood
  14. 14. INGRES, Jean- Auguste-Dominique The Grand Odalisque 1814 Musée du Louvre, Paris
  15. 15. erotic vision of women by drawing on Orientalism the Oriental fantasized of the Western man...
  16. 16. GIORGIONE Sleeping Venus 1510 Gemäldegalerie, Dresden
  17. 17. the Giorgione model has her eyes shut – being offered to the lust of the male observe our Olympia with Manet, in a crude light, stares at the spectator
  18. 18. 1863 Manet, Olympia : A Modern Olympia
  19. 19. CÉZANNE, Paul A Modern Olympia 1873-1874 Musée d'Orsay, Paris
  20. 20. A modern Olympia by Cézanne puts the client on stage, almost with the spectator
  21. 21. olga_oes 1863 : Manet, Olympia images and text credit www. Music The Piano Guys Story of My Life created olga.e. thanks for watching
  22. 22. Olympia With Olympia, Manet reworked the traditional theme of the female nude, using a strong, uncompromising technique. Both the subject matter and its depiction explain the scandal caused by this painting at the 1865 Salon. Even though Manet quoted numerous formal and iconographic references, such as Titian's Venus of Urbino, Goya's Maja desnuda, and the theme of the odalisque with her black slave, already handled by Ingres among others, the picture portrays the cold and prosaic reality of a truly contemporary subject. Venus has become a prostitute, challenging the viewer with her calculating look. This profanation of the idealized nude, the very foundation of academic tradition, provoked a violent reaction. Critics attacked the "yellow-bellied odalisque" whose modernity was nevertheless defended by a small group of Manet's contemporaries with Zola at their head. Olympia and its scandal mark the birth of modern art, giving way to a painting inspired by an unidealised contemporary reality.

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