Comparing Paintings Of Picasso, Titian, And Manet.

1139 words - 5 pages

Titian, Manet, and PicassoArt aspires to certain idealisms within each time period whether it is imposed upon them by an emperor, pharaoh, king, or pope, or self-imposed by the artists themselves. This may be especially true of these painters, Tiziano Vecelli(Titian) a great Venetian artist of the Renaissance, Edouard Manet, the Parisian who abandoned traditional painting techniques, and the Spanish born Pablo Picasso, one of the originators of the Cubism, all with their own ideals. Two aspired to their own personal vision, while the other followed in the footsteps of his contemporaries.Titian's, VENUS OF URBINO, 1538, was painted for Guidobaldo II, duke of Urbino (Fig. 1.). "This was probably a mere representation of a courtesan in her bedchamber elevated to the status of classical mythology, yet there is no evidence when the work was commissioned that it was intended as anything more than a female nude for the private delectation of the duke" (Humfrey 163). Itwas based, quite obviously, on Giorgione's VENUS (Fig. 2.). The Venus Titian creates reclines on a gentle slope made by her luxurious pillowed couch. The linear play of the draperies contrasts with the sleek, continuous volume of her body. "Down at her feet is a pendant (balancing) it is a slumbering dog"(Humfrey 163). The dark colored drapes serve to place the couch, dog, and the Venus figure in the foreground and to press an extended view into the background. On the right half of the painting there is another vista that opens into a landscape. The deep reds act against the pale neutral whites of the linen bed sheets and the warm ivory-gold of the flesh. Both are seen again in the red tones of the attending matron's skirt, and the muted reds of the tapestries and the neutral whites of the sleeve of the matron's dress and the gown of the kneeling attending girl seen behind the reclining figure.Edouard Manet intentionally rejected the status quo. Working in the late 19th century he painted, OLYMPIA, 1963,(Fig. 5), that was directly indebted to Titian's, VENUS OF URBINO,(Fig. 1). "OLYMPIA was a common prostitute posed in the manner of the traditional odalisque, boldly depicting everyday life in all its sordid detail"(Sayre 454). Picasso was certainly aware of Manet's painting and the tremendous outrage it provoked and it may have influenced his prostitutes' poses and arrangements of them about the "room", in all their glory. So in a much exaggerated sense you could say that Titian had a remote influence on Picasso through Manet.In 1906, Pablo Picasso was searching restlessly for a new, extreme way to depict form. For him clues were discovered in art from Africa, India, ancient sculpture of Iberia, and the paintings of Edouard Manet (Fig.'s 4 and 5). These inspirations came together in LES DEMOISELLES D'ABIGNON, 1907 (Fig. 3). The work began as a representation of a male client intermingled with women in the "receiving" room of a brothel. Eliminations of the male in the final version of the...

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