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The Paintings Le Grande Odalisque by Ingres and Olympia by Manet
A naked woman reclining is a work of art featured in several art movements throughout history. Two works in this history are Ingres Le Grande Odalisque (French neoclassicism) and Manets Olympia (French Realism). When Ingres work in Le Grande Odalisque is examined, one can notice classical influence playing a crucial role. For instance, there are no blurred or abrupt lines, and the womans body is painted with incredibly smooth, invisible brush strokes. The skin and fabric textures appear so lifelike that they are almost photographic. Although she is painted indoors, the background behind the blue curtain suggests spaciousness, as seen in classical masterpieces.
Manet created Olympia over fifty years after Ingres completed La Grande Odalisque. Compared to La Grande Odalisques smooth, well-shadowed appearance, Olympias pale skin is entirely unappealing. Manets female figure seems two-dimensional, but Ingres naked woman appears three-dimensional. Furthermore, because it is painted flat with thick and apparent areas of paint, Olympia lacks illusionism and chiaroscuro. Grande Odalisque has idealized and delicate curves and demonstrates sensual chiaroscuro on the contract.
Throughout history, it is clear that the nineteenth century was the most revolutionary for new ideas and innovations. Ingres work at the turn of the century did not quite reach that moment of transition, but Manets painting in the middle of the century reflected a completely new period. For instance, Ingres painted Napoleons sister, the Queen of Naples, for private use, revealing the intent to please the audience or patron. On the other hand, Manet emphasized the radical artistic freedom of expression by portraying a well-known artist model, Victorine Meurent, as a prostitute; his painting sparked a major controversy at the Salon of 1865. Thus, adopting the Marxist method, tradition, and patron servitude in Grande Odalisque may be contrasted with revolution and artistic independence in Olympia. Unlike Ingres, who treats the reclining nude genre as the peak of artistic accomplishment, Monet illustrates the modernist approach to painting by preventing the viewer from objectifying the woman.
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