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1863 : Manet, Olympia (en.)
... 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"
1863 : Manet, Olympia (en.)
… 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?
1863 :
Manet, Olympia
1863 : Manet, Olympia (en.)
1863 : Manet, Olympia (en.)
1863 : Manet, Olympia (en.)
1863 : Manet, Olympia (en.)
MANET,
Edouard
Olympia
1863
Musée d'Orsay,
Paris
1863 : Manet, Olympia (en.)
1863 : Manet, Olympia (en.)
1863 : Manet, Olympia (en.)
1863 : Manet, Olympia (en.)
a servant stares at the young women suggestively,
bringing her a bouquet-perhaps a gift
from an admirer, or even a client
1863 : Manet, Olympia (en.)
1863 : Manet, Olympia (en.)
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
1863 : Manet, Olympia (en.)
1863 Manet, Olympia :
his illustrious predecessors
TIZIANO Vecellio
The Venus of Urbino
1538
Galleria degli Uffizi,
Florence
1863 : Manet, Olympia (en.)
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
1863 : Manet, Olympia (en.)
1863 : Manet, Olympia (en.)
1863 : Manet, Olympia (en.)
GOYA Y
LUCIENTES,
Francisco de
The Nude Maja
1799-1800
Museo del Prado,
Madrid
1863 : Manet, Olympia (en.)
1863 : Manet, Olympia (en.)
Goya’s Maja Desnuda is much more provocative :
no hand to hide …
1863 : Manet, Olympia (en.)
INGRES, Jean-
Auguste-Dominique
Odalisque with Slave
1839-1840
Fogg Art Museum,
Harvard University,
Cambridge
1863 : Manet, Olympia (en.)
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
1863 : Manet, Olympia (en.)
1863 : Manet, Olympia (en.)
INGRES, Jean-
Auguste-Dominique
The Grand
Odalisque
1814
Musée du Louvre,
Paris
1863 : Manet, Olympia (en.)
erotic vision of women by drawing on Orientalism
the Oriental fantasized of the Western man...
1863 : Manet, Olympia (en.)
1863 : Manet, Olympia (en.)
GIORGIONE
Sleeping Venus
1510
Gemäldegalerie,
Dresden
1863 : Manet, Olympia (en.)
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
1863 : Manet, Olympia (en.)
1863 : Manet, Olympia (en.)
1863 Manet, Olympia :
A Modern Olympia
CÉZANNE, Paul
A Modern Olympia
1873-1874
Musée d'Orsay, Paris
A modern Olympia by Cézanne
puts the client on stage,
almost with the spectator
1863 : Manet, Olympia (en.)
1863 : Manet, Olympia (en.)
1863 : Manet, Olympia (en.)
olga_oes
1863 :
Manet, Olympia
images and text credit www.
Music The Piano Guys Story of My Life
created olga.e.
thanks for watching
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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1863 : Manet, Olympia (en.)

  • 2. ... 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"
  • 4. … 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?
  • 15. a servant stares at the young women suggestively, bringing her a bouquet-perhaps a gift from an admirer, or even a client
  • 18. 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
  • 20. 1863 Manet, Olympia : his illustrious predecessors
  • 21. TIZIANO Vecellio The Venus of Urbino 1538 Galleria degli Uffizi, Florence
  • 23. 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
  • 27. GOYA Y LUCIENTES, Francisco de The Nude Maja 1799-1800 Museo del Prado, Madrid
  • 30. Goya’s Maja Desnuda is much more provocative : no hand to hide …
  • 32. INGRES, Jean- Auguste-Dominique Odalisque with Slave 1839-1840 Fogg Art Museum, Harvard University, Cambridge
  • 34. 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
  • 39. erotic vision of women by drawing on Orientalism the Oriental fantasized of the Western man...
  • 44. 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
  • 47. 1863 Manet, Olympia : A Modern Olympia
  • 48. CÉZANNE, Paul A Modern Olympia 1873-1874 Musée d'Orsay, Paris
  • 49. A modern Olympia by Cézanne puts the client on stage, almost with the spectator
  • 53. olga_oes 1863 : Manet, Olympia images and text credit www. Music The Piano Guys Story of My Life created olga.e. thanks for watching
  • 54. 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.