{"id":1610,"date":"2021-09-09T05:22:47","date_gmt":"2021-09-09T02:22:47","guid":{"rendered":"https:\/\/mymanet.net\/?p=1610"},"modified":"2023-05-28T00:10:58","modified_gmt":"2023-05-27T21:10:58","slug":"on-painting-a-modern-nude-manets-olympia","status":"publish","type":"post","link":"https:\/\/mymanet.net\/home\/2021\/09\/09\/on-painting-a-modern-nude-manets-olympia\/","title":{"rendered":"On Painting a Modern Nude – Manet’s Olympia (P17)"},"content":{"rendered":"

Olympia<\/em> is certainly one of the most reproduced and discussed paintings in Western art.  Together with Luncheon on the Grass<\/em> it is considered to be a \u201cfounding monument\u201d of modern art (T.J. Clark). However in direct comparison their evaluation is somewhat controversial. Between the two paintings, the opinions of art historians are divided as to which painting deserves a higher ranking as “founding monument”.<\/p>\n

Figure 1 :    Olympia <\/i>by Manet (1863)<\/p>\n

\"\"                 and  Venus of Urbino <\/em> by Titian (1538)<\/p>\n

\"\"<\/p>\n

While Luncheon<\/em> is seen by the art historian Niels Sandblad as \u201ctroubled\u201d in conception and painting lacking the \u201cgreatness of the self-evident\u201d, Olympia<\/em> becomes the \u201cdefinitive work\u201d which Manet clearly wanted to achieve (1954, p.94).
\nPicasso, on the other hand, found Luncheon<\/em> so inspiring that he devoted over 200 works to it, more than to any other painting of another painter (Wollheim 1987, p.243-48).<\/p>\n

Manet\u2019s Olympia<\/em> is inspired by another painter like most of his early works, in this case by Titian\u2019s Venus of Urbino<\/em> (1538). He made two copies of Titian\u2019s Venus<\/em> while he was on a study trip to Italy.
\nThe resemblance of the two paintings is quite obvious (Figure 1) and has been commented at length by countless critics.
\nAn interesting difference is that<\/p>\n

– Titian used a courtesan as a model but painted her as a nude<\/em> wife in her home environment, presumably looking lovingly at her husband, with her hand resting on her pubic area rather innocently, and exerting a subdued eroticism, while<\/p>\n

– Manet used a model posing as a courtesan apparently looking at her customer with her hand covering her genitals in a way that rather enhanced the sexuality of her naked<\/em> body.<\/p>\n

The problem is that the critics and the public expected an idealized nude with a \u201cstory\u201d justifying her presented beauty, while Manet showed a contemporary woman which reminded the viewer pretty much of photographs of naked women available in Paris at the time.<\/p>\n

As Clark has argued, the scandal exploded especially, because Manet made it not sufficiently clear whether the viewer was looking at a \u2013 somewhat acceptable – courtesan<\/em> of the bourgeois high-society or at a disreputable lower-class prostitute<\/em>. Actually, there was no accepted way that a respectable contemporary <\/em>woman could present herself in the nude in a painting. The model had to be from the lower class, only posing<\/em> as a courtesan and the credibility depended on a \u201cstory\u201d making her posing respectable as art.<\/p>\n

Manet, however, did not provide the alibi-story, and, worse, lacking the story motivating her gaze, the direct gaze seemed to be produced by the lower-class model herself confronting the viewer. As Clark notes, the scandal was all about class identity, not about Olympia<\/em> looking straight at the viewer \u2013 like other nudes in the exhibition. Her look is \u201cnot the simple, embodied gaze of the nude\u201d. She \u201clooks out at the viewer in a way which obliges him to imagine a whole fabric of sociality<\/em><\/strong> in which this look might make sense and include him<\/em> \u2013 a fabric of offers, places, payments, particular powers, and status which is still open to negotiation\u201d (1984, p. 133; emphasis added).<\/p>\n

Thus, Olympia<\/em> raised issues of the relation between prostitution and modern class society (\u201dthe price of modernity\u201d) and of the precarious position of women inside and outside the respected role of a married wife. Women depended in their social status on men and found themselves always balancing their sexuality between asserting their integrity and independence or commercializing their \u201cassets\u201d in forms of prostitution.<\/p>\n

This societal context of Olympia<\/em> in Paris around the 1860ies has been described extensively, often inspired  by Marx (e.g. T.J. Clark) and complemented with analyses inspired by feminism (e.g. Carol Armstrong 1998,  Nancy Locke 1998, Anne McCauley 1998, and Linda Nochlin 2019).
\nThese approaches are interesting and illuminating, but in MyManet<\/em>, I would like to pursue two own questions:<\/p>\n

    \n
  1. Why did Manet in painting a modern nude <\/i>take up the issue of prostitution <\/i>in this explicit way by depicting a courtesan?<\/li>\n<\/ol>\n

    and<\/p>\n

      \n
    1. How does Manet\u2019s scheme relate to Olympia<\/em> \u2013 if at all?<\/li>\n<\/ol>\n

      Considering the first question<\/em>:
      \nWe might point out that Manet was well aware of the social problem and political debate on prostitution and the role of women, also discussing it presumably with his friend Charles Baudelaire. Following Rubin (2010), Olympia<\/em> is the most Baudelairian painting among Manet\u2019s work. But this perspective leads us back to the societal context.<\/p>\n

      I find a remark by Clark quite interesting that Olympia<\/em> has \u201ctwo faces\u201d, a face characterized by \u201chardness\u201d and a \u201cclosed look of its mouth and eyes\u201d and a face \u201copening out into hair let down\u201d over her left shoulder (p. 137). The first is \u201cclose to the classic face of the nude\u201d, the second seems to indicate the model herself as a person, \u201cit is her look, her action upon us, her composition of herself\u201d (p. 133). Both faces are placed by Clark into a \u201ctaxonomy of woman\u201d (p. 137), moving again to the level of social and cultural classification of women.<\/p>\n

      I would like to stay for a moment in the concrete situation of the atelier with Manet and his model Victorine. As said before, the concrete situation of the atelier is the reference frame for Manet\u2019s realism \u2013 that\u2019s where the (painting) action is!<\/p>\n

      Olympia<\/em> is painted by Manet parallel to Luncheon on the Grass<\/em> and finished somewhat later.
      \nThe early drafts of Olympia around 1862 do not show the \u201chardness\u201d observed by Clark.
      \nThe face is smiling rather sympathetically, and the hand is not always demonstratively covering the pubic area. It is tempting to suggest that the self-asserting gaze of Olympia entered the painting under the impression of the reactions to the Luncheon on the Grass<\/em>.<\/p>\n

      After all, Manet and \u2013 we should expect – Victorine Meurent were shocked by the interpretation of the woman in the Luncheon<\/em> as a prostitute having fun with a couple of young students. While Victorine certainly was participating in the \u201cloose\u201d Bohemian lifestyle of artists, no art historian has claimed that she was a prostitute in Clark’s sense. And we have every reason to assume that Manet was not seeing her as a prostitute modelling for him, nor was Victorine seeing herself as one!<\/p>\n

      In fact, Manet is credited generally with a deep respect for all the women he painted including clearly lower-class street singers or waitresses in the bar.
      \nThe explicitness of the presentation of a courtesan with all the accessories identified by art historians (e.g. the black cat, the coloured maid with flowers of a customer) may be, in part, motivated by reactions of the artist and his model to the derogative reception of Luncheon<\/em>.<\/p>\n

      Manet is confronted in the reality of the painting situation<\/em> with \u201ctwo faces\u201d:
      \n– he is \u201cseeing\u201d the model impersonating a nude courtesan ironically citing the painting of Titian
      \nand
      \n– he is recognizing that there \u201cexists\u201d in front of him a woman challenging and resisting the implications of \u201cbeing seen\u201d as a prostitute.<\/p>\n

      The first \u201cface\u201d is troubled by the problems of painting a contemporary nude courtesan:
      \nDirecting her gaze at the viewer<\/em>, she engages him in the \u201cfabric of sociality\u201d implied by prostitution, destroys the art conventions of painting a nude and arouses a public scandal.
      \nThe second \u201cface\u201d looks at Manet himself <\/em>\u2013 the \u201cfabric of sociality\u201d is here the situation of painting \u2013 with Victorine reminding him defiantly that she is involved in a power game with the viewer, if not with Manet.<\/p>\n

      The point is that Manet depicts this power game<\/em> on both levels \u2013 societal and situational – at the same time:
      \nBy violating the conventional strategies of idealization of female nude beauty and presenting her realistically, he allows Victorine to express her challenge of social norms in a direct personal confrontation with the viewer. He deliberately places her high on the bed looking down on the viewer, while Titian had the loving wife looking up to her husband.
      \nThe fact that Manet identifies the painted courtesan as a contemporary living woman must have motivated Victorine even more to her gaze.
      \nThus, Olympia<\/em> is a perfect example of Manet\u2019s realism<\/em> painting with self-awareness and self-reflection what he \u201csees\u201d and what \u201cexists\u201d in the social situation of painting.<\/p>\n

      This reflection on the power games leads back to the second question<\/em>:
      \nHow does Olympia<\/em> relate to Manet’s scheme?<\/p>\n

      As a reminder, the scheme is proposed as a generic template which is realized \u2013 with variations \u2013 in other paintings. Especially since Olympia<\/em> is produced in close connection with the Luncheon<\/em>, we should expect some formal<\/em> relationship to the scheme, not only the content<\/em> relation due to Manet\u2019s ( and possibly Victorine\u2019s) reaction to the interpretation of Luncheon<\/em> as involving prostitution.<\/p>\n

      The relation is certainly more complicated than in the case of Christ Mocked by Soldiers <\/em>(see Post 14):<\/p>\n

      First<\/em>, there is the question of the number of persons or positions<\/em> in the painting:
      \nCan the gazes and gestures of two people effectively instantiate the scheme?
      \nL\u00fcthy (2003) sees only two persons depicted, which constitutes for him a favourable reduction of the complexity of the viewer\u2013painting relation (in 3-4 person scenarios), a relation which he considers central for the interpretation of all multi-person paintings of Manet.
      \nIn view of MyManet<\/em>, the abstract viewer-painting<\/i> relation (inspired by the subject-object relation of Hegel) is not differentiated enough to capture the social space of painting.
      \nWe want to identify more positions inside and outside the painting, more \u201cpolyperspectivity\u201d (L\u00fcthy). Notably, L\u00fcthy is not discussing the role of the cat in the composition \u2013 an important actor, as we will suggest below.<\/p>\n

      Second<\/em>, there is a problem created by the dominant gaze of Olympia<\/em>.
      \nIt tends to reduce all other elements to decorative functions – like in a portrait. Her gaze is not an invitation to enter the scene but a confrontation challenging the approaching viewer. It takes some reflection on part of the viewer to become aware of the multi-layered power game described above and to see more than \u201cshe\u201d versus \u201cme\u201d.
      \nThis narrowing of perspective is an effect of power games!<\/em><\/p>\n

      The hesitating and deferring gesture of the maid offering the flowers is a revealing indication of the on-going power game. The maid is almost retreating behind the flowers, as it were, and all but merging with the dark background. (Manet might have chosen a coloured person as maid to enhance this effect.) It is only by moving Olympia\u2019s<\/em> face far to the left and dividing the scene by a vertical line that the maid gains sufficient independence as an actor in this game.<\/p>\n

      Third<\/em>, the cat becomes an important player in the game!<\/em>
      \nInterestingly, contemporary caricaturists like Cham and Bertall (Figure 2) acknowledge the importance of the cat more than many art critics.<\/p>\n

      Figure 2:  Caricatures of Olympia <\/i>by Cham  and   Bertall  (1865)<\/p>\n

      \"\"<\/p>\n

      Manet clearly felt the need to introduce a counterweight to the dominant outward-gaze. But unlike Olympia\u2019s<\/em> gaze, the gaze of the cat is not so evidently focused on a single viewer in front of the painting \u2013 a fact also recognized by the caricaturists. The cat\u2019s gaze is more starring at the public out there, and in Cham\u2019s graphic is even scared by the reactions of the public.<\/p>\n

      The cat represents the position of the Third!<\/em>
      \nHer gaze places the bilateral confrontation of Olympia with the viewer (and the painter) into the wider context of public reactions and institutions.<\/p>\n

      As noted by Rubin (p. 88), the cat is not only an erotic<\/em> symbol \u2013 fitting into the discourse on prostitution in most interpretations \u2013 but also a symbol of freedom<\/em> \u2013 fitting into the role of the cat in the power game in view of MyManet<\/em>.
      \nRubin (p. 95) recognizes that Manet\u2019s interest is \u201cfar more socio-psychological than erotic\u201d and \u201cfocused on the woman\u2019s power over her commercial transaction\u201d. Manet underlines his intentions by avoiding \u201cseductive use of paint\u201d, since a dominant marketing<\/em> attitude of the courtesan would suggest enhancing seductive beauty, while in a power<\/em> game we oppose exactly the \u201ccommodification\u201d of our own self (p. 96).<\/p>\n

      So far, we have identified the elements of Manet\u2019s scheme as shown in Figure 3:<\/p>\n

      The triad of \u201cFirst\u201d, \u201cSecond\u201d and \u201cThird\u201d is represented by Olympia<\/em>, the maid and the cat engaging the viewer in front of the painting. As noted above, we should also include the \u201csecond face\u201d of the model \u201cbehind\u201d the courtesan which communicates especially with Manet, the artist.
      \nThe scheme also shows the rather flat \u201cstage\u201d which Manet typically uses to push the scene toward the viewer. The background \u2013 the coulisse of the \u201cpuppet theatre\u201d \u2013 is closed by curtains and the frontstage is minimalized by the drapery hanging over the edge of the raised bed (the \u201cstill life\u201d in the scheme).<\/p>\n

      Figure 3:  Olympia <\/i>represented in Manet’s scheme – a first version<\/p>\n

      \"\"<\/p>\n

      Figure 3 makes aware \u2013 perhaps more than any words could \u2013 of a central focus of the composition, namely, the hand<\/em> covering defiantly the pubic area for the viewer.
      \nThe move has clearly a meaning in the power game, although critics usually propose some erotic or even psychoanalytic meaning. But I agree with Rubin that the main game played by Olympia<\/em> (and Manet) is about dominance and defiance rather than erotic.
      \nWith Rubin, I would also emphasize the importance of the hand in Manet\u2019s paintings. In Post 14, we have seen that in the case of Dead Christ with Angels<\/em> the hands can play the role of persons or positions in the scheme. In the centre of Luncheon<\/em>, the hand of the man to the right (\u201cSecond\u201d) mediates – with the pointing finger and the up-raised thumb –  between the triad in the middle ground and the woman (\u201cOther\u201d) in the background.<\/p>\n

      Thus, the hand suggests that another person might be allowed to \u201csee\u201d what is hidden from the viewer.
      \nThis position or alternative perspective is \u201cThe Other\u201d in Manet\u2019s scheme!<\/em><\/p>\n

      Figure 4:   Olympia <\/i>represented in Manet’s scheme<\/p>\n

      \"\"<\/p>\n

      In Figure 4, this virtual \u201cOther\u201d is introduced looking from the back. Additionally, Figure 4 slightly modifies the role of the cat with her gaze now directed toward the institutional \u201cBig Other\u201d of the scheme.
      \nAgain, I think the graphical representation supports this role of the cat more than words could, opening another dimension or perspective in Olympia<\/em>.<\/p>\n

      To sum up this analysis of Olympia let us return to the evaluation by Sandblad in the beginning.
      \nOlympia \u2013 this was his evaluation \u2013 is the \u201cdefinite work\u201d Manet wanted to achieve, at least in this phase of his development. Sandblad reaches this conclusion, because he sees Manet achieving a synthesis of \u201cJaponism\u201d, the fashionable influence of Japanese woodcuts, with the French, Spanish and Dutch art tradition. This interpretation relies heavily on the decorative and unifying qualities of contemporary Japanese art adapted by Manet to his own style. For Sandblad, it also means that Manet is anticipating the Symbolism of e.g. Paul Gaugin and actually overstepping the bounds of his \u201canalytic realism\u201d (p. 86) by painting \u201cpaper dolls pinned to the surface of the canvas\u201d (p. 94).<\/p>\n

      In view of MyManet<\/em>, I would agree with Sandblad to the extent that Olympia is taking a step forward to more unity in painting techniques and composition. Although, I would insist that Manet is not painting on the \u201csurface of the canvas\u201d (except in a trivial sense), but that his \u201cdolls\u201d are more like puppets on a stage – with all the layers and depth required to arrange the social relations between the actors on stage and relating to the agents beyond the picture space.
      \nManet\u2019s \u201canalytic realism\u201d never relies on the naturalistic realities of \u201cwhat is seen\u201d alone but tries to capture \u201cwhat exists\u201d, i.e. the reality of relations created by gazes and gestures. Although I have to agree with Sandblad that Manet is playing here with a symbolic or “uncanny” dimension both with the cat and the “hidden other”. We have to return to this “depth” in Manet’s realism in a later post.<\/p>\n

      Olympia<\/em> offers a special application of Manet\u2019s scheme reduced to a two-person scenario; in this sense it is not the<\/em> \u201cdefinitive work\u201d but a more specific <\/em>work.
      \nThe impact of the dimension of power<\/em> on the compositional aspects of the scheme is, however, important. We have seen already (in Post 16 about emotions) that the scheme has to be further differentiated to accommodate the basic structural realities of social relations, namely, the influence of power, exchange, truth, and trust.
      \nWe will keep this in mind when we take a closer look at the next multi-person painting following Jesus Mocked by the Soldiers<\/em> (1865), namely, the Breakfast in the Atelier<\/em> (1868).<\/p>\n

      In between, Manet had to recover from the shock and disappointment caused by the negative reception of, especially, Luncheon<\/em> and Olympia<\/em>. In 1865, he travelled to Spain to get re-assurance from his \u201cMaster\u201d Velasquez. Following the trip and \u2013 relevant for our purposes in MyManet<\/em> \u2013 he produced for about three years paintings which either chose the scale below the multi-person interaction (like still lives) or above (like the Execution of Maximilian<\/em>). I will return to these paintings later.<\/p>\n

      In the following week, I will concentrate on painting myself rather than interpreting Manet.
      \nHopefully, I can contribute then to my neglected gallery!<\/p>\n

      So, see you again on September 23 !<\/em><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

      Interpretation of “Olympia” as a variation of Manet’s scheme in “Luncheon on the Grass”<\/p>\n","protected":false},"author":199326225,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"nf_dc_page":"","_crdt_document":"","footnotes":""},"categories":[156853,225364],"tags":[156853,748385131,748385127,5425],"class_list":["post-1610","post","type-post","status-publish","format-standard","hentry","category-diagram","category-manet","tag-diagram","tag-manet-and-power","tag-manets-scheme","tag-olympia"],"yoast_head":"\nOn Painting a Modern Nude - Manet's Olympia (P17) - My Manet \u2013 Your Manet<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/mymanet.net\/home\/2021\/09\/09\/on-painting-a-modern-nude-manets-olympia\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"On Painting a Modern Nude - 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