Edouard manet artist olympia
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Perspectives
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Your place to explore new perspectives on British art from 1900 to now. Through interviews, films, image galleries and essays, we uncover the creative lives of the people behind the art on our walls.
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In recent years, much work has been undertaken to uncover more about the identities of the historically overlooked black sitters in the some of the world’s most well known paintings.
Ahead of our upcoming exhibition, Degas to Picasso: International Modern Masters, featuring an etching from our collection of Édouard Manet’s famous painting Olympia, we take a closer look at the sitter in the background, recently identified as Laure.
Let’s set the scene… It’s 1865, it’s the Paris Salon – the height of culture and fashionability. The audience are the Parisian elite. They’re white, wealthy, and predominantly male, and confronting them head on, literally staring out of the canvas at them, eyeballing them almost, is Olympia.
To say that Édouard Manet’s masterpiece caused something of a stir when it was first exhibited, would be a wild understatement – Parisian audiences were positively scandalised! Historically, female nakedness was acceptable so long as the painting was grounde
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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.
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