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If you are on the lookout for good new policies
you know, Francois Hollande
just allow the displacement of the Olympia
for future exhibition Manet, returning to Venice
to be held from April 24 to August 10, 2013
the Doge's Palace;
it will be an opportunity for hanging still unpublished
worthy of an imaginary museum
side by side
masterpiece of Manet
and the Venus of Urbino which it is based;
it is already
the opportunity to compare without preconceptions or scent of scandal
two languages and two naturalistic representations of feminine eroticism
remote
350 years.
Recall that the pictorial naturalism
neglects the historical scenes
or mythological
in favor
the pattern as it is perceived
an anonymous person
and capture a moment;
applied to Titien and Manet
these criteria
two naked models painted from
and not
two academic nudes:
firstly the Bella
which we know neither the name nor the social position
she was the della Rovere' mistress
or a courtesan at the Gonzaga's court?
anyway
hes face is clearly recognizable
as she is congruent with those of her portrait
also painted by Titian around 1536
and currently visible in
the Pitti Palace;
and secondly
the discrete Victorine Meurent,
herself painter forgotten,
and favorite topic
Pope of Modernity
which we know many faces
Also the beautiful portrait of Boston,
we identified as brush Manet
sometimes
in street singer,
sometimes
in Costume of an Espada,
with a parrot,
before the first railroad in the history of painting,
or in Lunche on the Grass.
These paintings
Have excuses titles:
Titian's Venus has nothing to do
with mythological representations of beauty and love
as we left
Cranach and Giorgione.
Far from being a cold image, remote
and idealized goddess
it is a "donna nuda"
young, desirable and voluptuous
who indulges in solitary pleasure.
As for Olympia,
unless it embodies the type of *** under the Second Empire
it exhibits
Victorine individualized body with hair on fire
nine
Mon slightly pointed chin
and legs
a little too short.
Both
are entered into the intimacy of a familiar setting
and not in an unreal space-time as required by the
tradition of the academic nude.
La Bella was extended
the bridal chamber a sumptuous Renaissance palace
two servants
working around or are breaking a marriage chest
which is stored in the dowry of his wife;
within its lid has no ornament
while the history of art teaches us
that from the Quattrocento,
it is readily covered with a naked
male or female reclining and close,
designed to excite the young couple
like a pornographic image.
Eh! yes, il Quattrocento is less hypocritical than the stupid 19th century
it restores the body
and doctors,
whose great Rabelais,
argue that the female *** is favorable for fertilization
and recommend *** in marital intimacy.
So we ready to dream ...
Titian seems to replace the whole picture
to cover cassone
and is shameless vulgarity or
a scene of female ***
before the wedding of the flesh.
on the composition, clearly highlighted by the prospect of paving
and the right angle between the bed and the curtain,
it increases the *** power of the image
since the vanishing point is placed on the left hand
and that the hanging
is the steep
sex.
eroticism Olympia is an entirely different nature
perspective or the service of sexuality
or interpretative ambiguity:
the 2D image dimensions
shows a professional fun post coitum
and we know already
Victorine that is capable of mimicking
all roles ...
it is supremely indifferent to the scene to which
she asks
Hair obscured by the left hand,
she is reluctant to receive the homage of a bouquet
after the departure of her lover
and supports frontally
the public eye.
objectively
nothing very exciting here
and the voluptuous warmth of Titian's painting a canvas meets a little hard
dominated
by cold tones.
and yet the room 1868
she did fantasize contemporaries Manet
frustrated and prudish heirs
restoration of the throne and the altar ...
honestly what interests the artist in this scene
is not this the game of black and white
subtly balanced by the roses?
In short,
are we not in the presence
a pure work of colorist?
None better than Zola
was able to see this work pictorially
so let him the last words
extract from an article in the Event illustrated
May 10, 1868.
"We have here, as they say in public entertainers,
etching of Epinal.
Olympia
lying on white cloth,
is a large pale spot
on the black background;
in the black background is the head of the negress who brings a bouquet
and the famous cat
that so enlivened the public.
At first glance,
So that we do not distinguish two shades in the table, two shades violent
is eliminating another.
Details have disappeared
look at the head of the girl!
lips are two thin pink lines,
eyes reduced to a few black lines;
now see the bouquet!
and near, I pray you,
plates roses
blue plaques
green plates!
simplifies everything
and if you want to restore reality
you must reculiez a few steps;
then
it happens
a strange story
each object is put in its place,
the head of the Olympia from the background with a striking relief,
the bouquet is a marvel of brilliance and freshness.
The accuracy of the eye
and simplicity of the hand
made this miracle.
The painter process as nature makes itself
by clear masses by large swathes of light
and his work
looks like a little rough
and austere
nature.
But nothing is more exquisite finesse
that pale shades of white cloth different
on which Olympia is lying.
There is in the juxtaposition of the white
immense difficulties overcome;
the body itself of the child has lovely pallor is a girl
16 years, probably a model
Edouard Manet copied quietly
as it was.
When we give our artists Venus
they correct nature, they lie;
Edouard Manet wondered why lie, why not tell the truth?
He told us about Olympia,
this girl today
you will encounter on sidewalks
and squeezes her thin shoulders
in a thin woolen shawl faded.
The public, as always,
was careful to understand what the artist wanted:
there were people who sought a philosophical sense in the table,
other
more aigrillards
would not have been upset to discover
intention obscene.
Eh! tell them so loud, dear sir,
you needed a naked woman
and I chose Olympia, the first coming!
you needed clear and bright spots
and you put a bunch!
he had
black spots
and you put in a corner a negress and a cat!
what does it mean?
you do not know much
neither do I,
but I know I
you have succeeded admirably
to
a work of painter,
the great painter,
I mean to translate vigorously and in a particular language
the truths of light and shade,
realities
objects
and creatures. "
Then
direction Venice? ...