This essay focuses on the masterpieces “Grande Odalisque” (1841) by Jean-Auguste-Dominique Ingre printed in a period referred to as Romantism and “Venus of Urbino” (1538) by Titian Vercelli painted during the period called the High Renaissance. It is also a study of methods structures and standardized art practice in different time or eras…
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The depiction of the female nudity in history of art exists in plenty; as does the archetype from which these nudes got styled.
Titian and Ingres were deliberated as some of the most significant artists of their time; accredited with being broad - minded and conservative (Gardner 290). Noting the painters and paintings, they stand as genius on their own considering their individual contributions which are monumental to the corresponding movements. Through identifying these works through their separate form content and context, the two works will be compared and contrasted.
It remains easy to describe Ingres as a consistent supporter of the Neo - Classical stylishness from his period in David's studio to the mid19th century. Ingres returned to Neo - Classics after having overruled the lessons of David, his teacher, and after having set the foundation for the emotional Romanticism expressiveness, the new style of young Delacroix and Gericault that Ingres would ultimately defend. Ingres' early Romantic penchants can be seen most legendarily in his work “La Grande Odalisque” painted in 1814.
On Ingres’, Grande Odalisque, a languid nude is outlaid in a sumptuous interior. On its first glance this nude appears to follow in the convention of the Venetian masters, for instance, Venus of Urbino (1538) by Titian. However, upon closer scrutiny, it seems that this is not a classical setting. Instead, Ingres has generated a distant eroticism emphasized by its exotic context. This work is full of sensuality, idealization and mystery. The background seems quite undefined with a purported black portion that makes it more attractive. The different shades of bluish clothing and decorations make the picture more striking to the viewer. The woman’s gaze, like Titan’s Venus, is directed straight towards the spectator and the fan made of peacock feathers in her hand looks as if it has just been used. Odalisque position and size gives a deeper meaning although, it is much more than a naked lady staring at the viewer. She reflects her life as a concubine, on her duties. She is believed to have been part of the sultan’s harem, she was there to satiate the lascivious pleasures of the sultan, despite what she may want or feel. She reflects a woman with deep thoughts, complex feelings and emotions (Lewis 328). In the cognizance of a 19th century French male observer, the sort of individual for whom this picture was made from, the odalisque would have made up not only a harem slave, being itself a fallacy, but a set of desires and fears connected to the long aggression history between Islamic Asia and Christian Europe. Certainly, Ingres' porcelain sexuality is acceptable even to a progressively prudish French culture due to its subject's distance. While the Renaissance painter Titan veiled his eroticism in myths, Ingres covered his piece of desire in a murky exoticism. Some art historians suggest that colonial politics played a role too on the work. France was expanding its African and Eastern possessions, often brutally at this time (Gardner 441). The myth of the barbarian served the French who would then claim a moral authoritative. Incidentally, on clear look, anyone can notice something "wrong" with the figure's anatomy. Titian is deliberated to have been an outstanding Venetian painter of the 16th - century, and the former of the Venetian colorist and painterly tradition. He remains one of the significant figures in the Western art history. Tiziano Vercelli got born in the northern Venice, in 1477. He got trained by both Giorgione and Bellini, and after
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Still, one must consider that the very name Renaissance refers to a return to the Greek and Roman cultural epoch. Some of the most prominently incorporated thematic content from these earlier eras are from Greek and Roman mythology. One popularly incorporated mythological image in Renaissance art is the Roman goddess Venus.
Neoclassicism represents the 18th century revitalization of classical beliefs and differs from other revivals as neoclassical artists approach the ancient subject with fresher, more scientific approach (Lewis and Susan 356). Grande Odalisque attracted widespread criticism owing to its elongated proportions and absence of anatomical realism.
The interior of Venus perhaps is similar to interior of the Earth. Venus, like the Earth, is a terrestrial planet that is made of metal and rock. It perhaps has a metallic core that is partly molten, a crust and a rocky mantle. But regardless of the planets' similarities, Venus`s magnetic field is very weaker than on Earth's.
Venus is the second planet from the sun in our solar system and was named after the Greek goddess of beauty; it has a year with the equivalent of 224.7 days on earth and has been studied by many probes being sent to the planet mainly by Russia but as well as USA and the European space association.
She is known as the “Woman of Willendorf”. She is one of the ‘Venus Paleolithic figurines’ (Lammerhuber 2008).
This figurine has unique features. She has large, oval breasts. She has her slender arms draped over her large breasts. She appears to don
She has transparently white skin, and there is some coldness in her eyes. As compared with her body, the background is dark and makes people pay attention to her.
According to our text book, the painting
Lorenzo is the initiator of the artwork. He managed to set it to verse through Angelo Poliziano, one of his best poets. At that period, there were attractive examples of antiques from which Botticelli borrowed directly to provide the
There are various ways in which Botticelli stroke a balance between idealism and naturalism in the ‘Birth of Venus’ as told by Gombrich. The balance between the two concepts is achieved through the descriptions that Botticelli gave about the events that surrounded the birth of Venus. Botticelli technically upholds naturalism.
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