Art Summary : Titian And Manet's Reclining Nude Female

Titian used the high Renaissance artistic style while creating the Venus of Urbino. The painting can be classified with the region style of western art. Titian used one-point linear perspective to give the painting the illusion of three-dimensional space, he also used idealization when creating the Venus.

In Classical art and in Renaissance art, nudity was relevant and useful to the expression of the idea that the creator was trying to convey. Time has not changed the relevance or usefulness of nude art. First, it must be stated that all nude art is not acceptable. Pornography and other forms should in no way be considered as meaningful art. There is a certain underlying intelligence that cannot be separated from nude art. Once this intelligence is removed, the nude art no longer holds any meaning or significance.

Nude figures have been featured in art works since around 30 to 25,000 B.C. And throughout the history of art, we can see a lot of artists being inspired and influenced by great talents before them, in one way or another they would carry the style or ideas of those previous artists into their own art and create new masterpieces. One particular example is Édouard Manet’s Olympia from the Realism period, and Yasumasa Morimura’s Futago. The two paintings share great similarities in their composition, but the content and purpose of the paintings, and style wise the two pieces are very different.

In the Renaissance period women are almost invariably shown as completely passive and as an object for contemplation. The reclining female nude in the Renaissance raises questions of the male gaze more often than any other artistic stereotype. Female nudes were only an open acknowledgement of not only male desire but also the right males had to express that desire. A woman’s feelings when looking at such images of members of their own gender were never discussed or asked until recently.

Over the years, many art historians have argued over the true intentions of Titian’s Venus of Urbino. Unlike some of Titian’s other paintings, Venus of Urbino does not have

In the traditional European oil painting, the nude, the principal protagonist (the painter) is never painted, but what does gets painted is a result of what appeals to him sexually. A woman’s body hair and fat dimples are never painted, since it is not sexually appealing to the painter. When a woman is depicted with her lover, her attention is rarely painted as directed towards the male lover if one is present instead it is directed toward the spectator—the painter. Most Renaissance European oil paintings with sexual imagery are frontal, literally or metaphorically. Of course there are exceptions, let’s not dwell. The oil-paintings of this era feature stark nakedness. I chose the paintings that I did of the women that were clothed on purpose, they are still supplying a demand and these women still have makeup on their faces and are wearing very nice clothing which is appealing. Neither one of the paintings of the women have anything unappealing of their face i.e. pimples, warts, unibrows or a mustache. However in the painting of Diogenes he is depicted half naked and you can see his nipple and very defined muscles. Could one say that this artist was interested in men? As “attractive” attributes are depicted? Could I Berger declare that this is a hack work on the men?

Even though some artists, as Berger claims, tried to resist this tradition, they couldn’t overcome the cultural tradition of female objectification that has continued to the present. These artists failed to create a different view in culture because of the media and how the perception wouldn’t change in the eyes of men. One famous artist who tried to resist this awful trend was an artist name Rubens. In his portrait of his second wife, the painting named Helene Fourment in a Fur Coat, he tried to portray the same message with a different image.The image is of a women with no other clothing other than a fur coat looking shameful. The middle-aged looking women in the painting was wearing a big brown fur coat. The difference between a regular “nude”

The reading claims that nudes throughout artistic history have been an important source of beauty and controversy. Nudes began to spike during the Baroque period as they were used for the more expressive and emotional arts of the time. In the nineteenth century, nudes became more common, yet became more sensitive. Artists would train by drawing nudes of ancient Greek statues and figures from myth. However, many artists would then move on to create works depicting prostitutes or peasant naked women. This would not please patrons as they were extremely societally taboo. However, this did not start artists from making them, as they moved into the twentieth and twenty-first century. This shows the importance of artistic nudes and their impact

Sex workers inhabited the public space of Paris throughout the 19th century, their trade widely accepted as disreputable but necessary. When the French poet Charles Baudelaire was asked what art is, his immediate answer was “prostitution.” This proves that throughout history, artists have used prostitutes as models and muses for their artwork. Prostitution and painting go hand in hand. Among the first painters to use female models were Titian and Giorgione, producing Venetian reclining nudes, which appeared as advertisements for the most successful courtesans of Europe. These paintings hung in homes, showing real women as nothing more than an image to be looked at and judged by men. The interest in representing prostitution in art not

Consequently, many of the colors used in Titian’s Venus of Urbino rematerialize in numerous of Titian’s other works, for example the green in the curtain behind the young woman’s head. The green depicted was painted

Rembrandt van Rijn was a Dutch artist well known for his many paintings and etchings of landscapes, figures and animals. His subjects included biblical, secular and mythological scenes. Rembrandt also dabbled in the nude even though they were not popular among his contemporaries. Rembrandt’s nudes were his interpretation of the real human body. He painted every wrinkle and every fold of the body. Rembrandt’s nudes were not considered ugly and grotesque. His nudes were unlike the Greek goddesses his colleagues would portray. There has been some debate and questions as to whether or not Rembrandt used the most important women in his life as models for his nude masterpieces. The most important women in his life were his wife Saskia, his son's

However, they were mostly represented in a way that exposed the social stereotype of women. In The Source (1856) by Ingres, the female body seems passive and contained, contrasting to the uncontained overflowing liquid from the vase. In The Three Graces (1815-16) by Antonio Canova, the three female nudes have no body hair or wrinkles and are in a contained posture. However, there were also radical artists who tried to disrupt such conventions. Such as in Manet’s Olympia (1863), the female prostitute directly addresses the viewers in an active posture. Here, the nude has gray tones and is not impeccable as in The Three

As she defines the modern as a difference "cultivated in the practice of art" (21), in order to maker her point, her analysis of Olympia dwells upon the conflicts between the painting and the artistic conventions. She makes it clear that the incoherence occurs at two closely related levels, namely the level of technique and the level of subject matter (27). With regard to the former, it seems that Manet invokes the tradition of nude just so he can discard it. There is a "lack of compliance...with a tradition of painting of the nude, in which the nude female body was offered for contemplation in an idealized form", and such departure from the technical convention of art-making further enables the construction of conflicts at the narrative level (Fer, 24): Olympia exhibits sharp control over her own sexuality in an almost shameless way, yet the disgraceful defiance is diluted by the rich material embellishment, the classicized title and the allegorical poem. She is a classless prostitute (for any reference to class dissolves into the shadowy classical traditions invoked), but is a mysterious goddess at the same time. The disregard of artistic practice combined with the ambiguous iconography leads to a further level of incoherence of meaning or representation, which Fer seems to think, illustrates the "difference" that proclaims modern art as a new phenomenon in its own

Lovis Corinth Painted “Nana, a Female Nude” in 1911, it exhibits the classic female nude which originated in Greece. Even though it is a classic nude, the woman is not idealized like other paintings. This is probably because Corinth painted this after the artistic movement which moved the focus of art from the old and traditional styles of the Renaissance to the modern style of painting and focusing on how the artist interpreted the subject he was painting. This is an oil on canvas

While the human form has always been acceptable in art, the nude female form continues to stir