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.
When it comes to technicalities this piece is not particularly the best reference. But what makes it one that deserves eternal praise is how it stroke a cord among art critics at the time. It was seen as mockery instead of art. The beauty of the artwork in question did not revel in how attractive the subject was rendered but how the whole concept is an honest slap of the imperfections of human beauty at the face of 1865 France.
The woman on the canvas was not Venus, but a parodied symbolism named Olympia. Based on what she was wearing, slippers and a black choker, this tells you that she is a courtesan. The most ironic thing you can use to portray a goddess would be a prostitute. Maybe even then people thought the concept was offensive and sacrilegious.
Now you may think this chick was your run off the mill girl, but as you can see she had a servant. This entails that the subject was of a higher position in the job that she holds. The servant also holds a bouquet which seemingly comes from a patron. What shocked people during the era when this work was released was how vulgar the piece was.
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.
The piece is a cross between abstraction and tradition which encouraged modern art. There was lesser pressure to perfection. This is evident on the asymmetry of features you can see on the subject. The detail is essentially on the hands and the feet which seems peculiar, instead of focusing on the bosom and the womb.
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.
When it comes to technicalities this piece is not particularly the best reference. But what makes it one that deserves eternal praise is how it stroke a cord among art critics at the time. It was seen as mockery instead of art. The beauty of the artwork in question did not revel in how attractive the subject was rendered but how the whole concept is an honest slap of the imperfections of human beauty at the face of 1865 France.
The woman on the canvas was not Venus, but a parodied symbolism named Olympia. Based on what she was wearing, slippers and a black choker, this tells you that she is a courtesan. The most ironic thing you can use to portray a goddess would be a prostitute. Maybe even then people thought the concept was offensive and sacrilegious.
Now you may think this chick was your run off the mill girl, but as you can see she had a servant. This entails that the subject was of a higher position in the job that she holds. The servant also holds a bouquet which seemingly comes from a patron. What shocked people during the era when this work was released was how vulgar the piece was.
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.
The piece is a cross between abstraction and tradition which encouraged modern art. There was lesser pressure to perfection. This is evident on the asymmetry of features you can see on the subject. The detail is essentially on the hands and the feet which seems peculiar, instead of focusing on the bosom and the womb.
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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