Name: Professor: Course: Date: Romanticism vs. Venetian Renaissance Romanticism, considering its highest form, style and meaning, is not easily discernible through a single glance. When applied to artworks, this style cannot be easily defined and comprehend because of the intricacies associated with it…
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More than rationale and thought of the artwork, romanticism gives focus and concentration on the storytelling and the mood behind every art piece (Romanticism para 3). Having said these facts, an individual usually and commonly thinks of romanticism as a style having overflowing sensibilities and personalities rather than a style possessing only a distinct taste which could make it a stand-out as compared to other art forms. As matter of fact, artists cultivating the romantic style do not share a special and discrete form of approaches in order to come up with a finished product. What is so special with romantic artists is their excellent use of their individualistic differences and understandings to promote a piece of art. In the minimum, romantic artists are linked by individualism as well as of freedom of expression. These characteristics, in many ways, break the convention set by the contemporary art. On one hand, Venetian Renaissance artworks as compared to romanticist art forms do not even concern feelings and intimacy but are more focused with politics and religion in the entirety. Venetian Renaissance is characterized mainly by rich colors and textures which symbolizes excellent and good changing economic stability and trade. In its deepest meaning, the artworks during the Venetian Renaissance era talks and depicts more about secularization and anti-religiosity. Also, base from a number of reasons which involve wealth, abundance, success, prosperity and affluence, the Venetian art focuses more of its understanding towards earthly pleasures, jovial way of living and myths (Kleiner 485). For this paper, I have decided to look with Jean Auguste Dominique Ingres’ Grand Odalisque painted in 1814 using the romantic art style. Also, I would be examining Titian’s Venus of Urbino painted in 1538 during when the Venetian Renaissance art style flourishes at its finest all throughout Europe. I have decided to examine these two classic works since they both depict and project a seemingly similar understanding and comprehension about women and the characteristics associated with the female race but in a totally different viewpoint and perspective. As can be seen in the Grand Odalisque by Ingres, the woman is depicted and portrayed as a passive element of resistance. As part of the intrigue in the artwork, you can see that there is something passionate and striking about the artwork’s personification and over-all impact. Seeing through the woman’s eyes, you can sense no fear about what is all happening in the background. In fact, the woman is so calm and very comfortable being nude and showing off with no clothes. Having said those facts, I believe that the portrayal and depiction of the whole artwork is so magnificent and extraordinary that it can efficiently talk across with the observer. It is very consistent in the narrative that it wants to translate, this is since it has been very effective in telling a story about an odalisque, which in common terms pertain to a concubine or a prostitute, having no choice to become anyone else but to be slaves for manly pleasure and sex. As stated above, the main character is an odalisque. And that fact is so important in order to understand more the nature of the art piece before being able to identify how similar and different it is to other artworks. Why so? Mainly because, the nature of the odalisque says it all what should the
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