Title: Olympia
Artist: Edouard Manet
Date: 1863
Period: Modernism
Location: Musée d'Orsay, Paris
Scale/Size: H. 130; W. 190 cm
Materials: Oil paint
Techniques: Oil on canvas
Subject Matter/Content: Edouard Manet's Olympia is a radical depiction of the female form. Using Victorine Meurent as the model for the composition, Manet illustrates an 'everyday' Parisian woman, meaning she does not belong to the nobility, but she is not considered indigent, either. She represents a 'real' or 'everyday' woman, because her features are not idealized, seen in the asymmetry of her face. Based on the black servant, the lavish accessories, and the ornate wallpaper and bedding, viewers get the sense that the nude woman is in fact wealthy. Her wealth is attributed to the fact that she is a prostitute; the bouquet of flowers her servant presents her with and her accessories imply wealth as well as prostitution. Her direct stare at the viewer feels invitational, and the way she is simply lounging in bed also alludes to the notion that she is a prostitute. Her occupational role as a prostitute suggests that she belongs to the demi-monde, a class of woman in 19th-century France who were considered to be of "doubtful morality and social standing".
Symbolism: The title of the painting, Olympia, was a name commonly affiliated with Parisian prostitutes in the late 1800s. The flower gently tucked in her hair, and the jewelry she wears are indications of her occupation as a prostitute.
Contextual Issues Relevant to the Work:
As aforementioned, in 19th-century France there was an emergence of the demi-monde. Manet drew on that notion by depicting a prostitute, who would presumably be grouped into this class by many. With this piece, Manet also wanted to challenge the traditional ideas of academic art which were so widely accepted and rarely questioned.
Formal Qualities of the Work: Olympia consists of quick brush strokes, which contradicts the traditional academic style often seen in Greek and Roman art. The model for Manet was Venus of Urbino by Titian (1538), but Manet's piece disregards the academic technique of special representation and the turn of the body. The dark shadow that outline the body shocked and horrified many, as it is a vastly different stylistic approach from what was seen in traditional nudes. The dark background of the painting contrasts with the fairness of Olympia's complexion, as well as the pure white bed she lays on.
Function: The function of this piece was to present the female nude in a newer, more modern light. As opposed to depicting the female nude in an idealized manner, Manet depicts the female nude in a more realistic and therefore flawed sense. A secondary function of Olympia is to illustrate what a prostitute in 19th century Paris looked like, which is vastly different from how they are perceived in the 21st century. Above all, Manet wished to paint what he saw, and not necessarily what others wanted to see.
Symbolic Function: The symbolic function of the piece was to allow for the emergence of a modernized depiction of the female nude in which traditional notions are rejected or ignored.
Intended Audience: In 1865, Olympia was displayed at the Paris Salon. It caused uproar and scandal by those who viewed the painting, albeit this was not how Manet intended it to be. He simply wanted to tell the truth through his work, and hoped that he would find an audience that could appreciate a modern approach to the female nude.
Related Themes: The painting presents themes such as defiance, sexuality, gender roles and reality.
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