Time Machine task: Comparison essay between Giorgione & Manet's nudes

In this essay I will compare and contrast the context, symbolism & relationship to idealism and realism of the nude form through to main paintings, the first being Giorgione’s ‘The Sleeping Venus’ 1510 and the other ‘Olympia’ painted by Manet in 1863. 

'The Sleeping Venus' 1510

'Olympia' 1863

The last painting of Giorgione, The Sleeping Venus in 1510 portrays a nude woman posed within a picturesque landscape. It is thought that due to Giorgione’s death, Titian his friend & student completed the backdrop of the painting. However before Titian finished the landscape it is obvious that Giorgione put a lot of effort into the detail and shading of the mountains, villa, sky and trees. The shape & form of the woman’s body seems to mimic that of the hills highlighting the nude body as an organic natural form, lying horizontally which marked a revolution in the art world.

 It is thought as the starting point of modern art as before this painting, nudes would be painted in a religious state, stood usually decently covering their breasts and groin with their hands or some sort of robe or cloth such as, Botticelli’s ‘The Birth of Venus’ 1486.

'The Birth of Venus' 1486

The set up and composition of the painting seems to be copied throughout history starting with Titian’s ‘Venus of Urbino’ 1538 which then began to change with Manet’s Olympia in 1863. 

'Venus of Urbino' 1583

There is a sense of eroticism implicated by the way Venus has her arm raised and her other hand placed on her groin. The sheets on which she reclines on are painted with a relatively cold colour palette as if to exaggerate her beauty revealed from under the quite rigidly draped sheets. The figure takes up quite a large proportion of the frame which was unprecedented in Western painting; the inclusion of a peaceful scene seems to reflect her calm persona deep in sleep possibly dreaming of a lover. She is depicted unaware of any viewers which makes us feel like voyeurs into her seemingly peaceful world.  

Although she looks very posed she also seems very natural and still within the still landscape; it is a very idealised scene with the beauty of the perfect female form reflected in the beauty of the nature surrounding her in a dream-like setting. The glow of her warm toned skin seems to stand out prominently against the relatively cold tones of the rest of the backdrop; while her auburn hair almost blends into nature with the protective, textured hillside framing her on the left. The scene looks undisturbed and silent which over the years has been replaced dramatically by scenes of the bedroom completely reinventing the situation & feel of the nude.

By 1863, Manet had also painted his version of this scene titling it ‘Olympia’; however here the once religious, mythical being has been replaced by a modern Parisian woman. The scene is very different with the room being quite imposing and under lit to reflect the sordid acts that took place there, by what appears to be a courtesan. Manet intended to reflect the traditions undertaken by Giorgione, Titian & many others by using the same pose but changes the sheets from a shroud to an unmade bed.

The image was condemned as ‘immoral’ and ‘vulgar’ and the public had to be restrained from destroying it even though it was known for men to visit these women it was obvious that they did not want to be confronted with the idea. It seems she is waiting for a client and has been interrupted by a black servant presenting her possibly with a previous clients flowers; her bored expression seems to hint at the idea that this was a common occurrence.
She holds a very confrontational gaze with the audience totally aware of her body being observed by the public and being comfortable with this creates a very overt personality very different from the inverted character of sleeping goddesses once depicted. Her hand completely covering her groin, rather than for decency could be a metaphor for independence and power over her own sexuality and men. The orchid in her hair, bracelet, pearl earrings and shawl she lies on could be a symbol for wealth & femininity, while the black ribbon round her neck enhancing her pale skin reflects a sensual atmosphere. The presence of a black cat symbolises infidelity and prostitution a stark contrast with Titian’s sleeping dog in ‘Venus of Urbino’ which could symbolise loyalty.   

Manet’s broad & quick brushstrokes were considered childish and unskilled by many combined with harsh lighting on the figure to eliminate mid-tones leaves us with large areas of block colour which removes this idea of idealism. Rather than a mythical figure depicted in Giorgione’s nude, Manet has exposed the real female form with her pale, cold skin almost becoming one with the bed. It humanises prostitution when no one wanted to remember the shadier side of life. Olympia has flaws and stares brazenly at the audience which was not accepted at this time for women to stare directly at anyone. The scenario is shockingly different from Giorgione’s dream-like state with hard, cold dark and light tones Manet has exposed the real female body in all its glory.