Edouard Manet – Olympia Part.1

Lying leisurely on a bed, a woman gazes provocatively at us – a work of art that sent ripples of disquiet through the Western art realm at the time. In search of possible antecedents, one might evoke Édouard Manet’s “Luncheon on the Grass,” which graced the Salon of 1863, predating “Olympia” by a mere two years. “Olympia” was created right after “Luncheon on the Grass” and was exhibited at the Salon of 1865.

The responses to “Olympia” were, as expected, negative. Even Courbet, who had been supportive of “Luncheon on the Grass,” was reported to have remarked upon seeing “Olympia” that it resembled the “Queen of Spades who had just finished bathing.”  Indeed, during that period, numerous articles and critiques spread filled with mockery and scathing attacks such as:

• “A yellow-bellied prostitute”
• “A female gorilla made of Indian rubber”
• “A work that expectant mothers and children with disabilities in the household should avoid passing by”

The attacks did not remain just in words. Although Manet might not have intended it, the mockery turned into what what we might today term “buzz marketing,” attracting large crowds to the salon exhibition eager to witness this “vulgar and audacious” artwork. Day after day, a gathering of people naturally formed in front of Manet’s “Olympia” at the exhibition hall.

In an attempt to quell the artists’ dissatisfaction, the salon organizers arranged artworks in alphabetical order by the artist’s name. Yet, as the commotion escalated, they had to deliberately locate “Olympia” in the very last room, behind an obscure wall – a dark wall that seemed as if it had never hung even a mediocre piece before. Despite this, individuals continued to congregate before it. Some even tapped the painting with their canes. Eventually, the only option was to hang it higher.

1. A Nude Woman? Bold Pose on the Bed?

So, what triggered such a scandal?

A Nude Woman?

It was not merely the fact that it depicted a nude woman that caused the controversy. After all, nude women had been depicted countless times since the Renaissance, and there were many such artworks displayed at the Louvre Museum at that time.

Boldly Lying on the Bed?

Was the outrage stirred by the audacious representation of a secular woman lying provocatively rather than a goddess from mythology? This, however, fails to elucidate the cause. If that were the case, people should have been outraged over Francisco Goya’s “The Nude Maja,” painted over half a century before “Olympia.”

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Certainly, from an early age, Manet had a deep appreciation for Spanish painting, and it’s evident that he was well-acquainted with Goya’s work when he created “Olympia.” However, it becomes apparent that Manet drew clear inspiration from Titian’s renowned masterpiece, “Venus of Urbino,” housed in the Uffizi Gallery in Florence. A comparison between Manet’s creation and Titian’s reveals that Manet extensively incorporated elements of Titian’s composition into “Olympia.”

2. Venus of Urbino

Manet’s “Olympia” and Titian’s “Venus of Urbino” share remarkable commonalities. Firstly, both feature a reclining nude woman positioned on a bed. Moreover, the backgrounds of these works are divided, delineating left and right sections at the central axis. On the right side, a maid is thoughtfully placed, while the overlapping positioning of the nude women’s legs is a notable shared trait. Furthermore, their hand placements, adorned with bracelets and rings, echo one another. Last but not least, a white sheet gracefully extends from the lower left corner of the canvas, cascading beneath a pillow to craft a triangular shape. In essence, these paintings bear a striking resemblance in multiple aspects.

Differences in motifs between the two works can be observed in the presence of pets near the women’s feet and variations in the depictions of the maids.” In Titian’s painting, a crouching dog is present, while in Manet’s, a cat is featured. Additionally, in Titian’s work, two maids are present, somewhat further away and preparing garments, whereas in Manet’s painting, a Black maid presents a bouquet of flowers to the woman, reminiscent of a gift from an admirer.

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“Venus of Urbino” had already been recognized as a masterpiece throughout Europe, and Manet, having studied and even replicated it during his artistic education, was undoubtedly well-acquainted with its nuances. If Titian’s goddess was never subjected to criticism for being audacious or immodest, then there ought to be no singular reason to censure “Olympia” solely on the grounds of its provocative posture.  After all, when contextualized and stripped of any bias, “Venus of Urbino” is equally daring at least in terms of the pose. So, why the controversy?

3. The Black Maid

While some criticism has emerged as regards the inclusion of a Black maid presenting a bouquet to the nude woman, with claims that this motif perpetuates a clichéd narrative, such assertions appear somewhat unfounded. In reality, the motif of a Black maid offering flowers to a nude mistress is not an innovation introduced by Manet. Rather, it finds its origins in Jean-Léon Gérôme’s “Odalisque,” which garnered acclaim when exhibited at the Salon of 1842.

While Gérôme may not enjoy widespread recognition today, he held considerable popularity as an academic artist during his era, with his “Odalisque” being a popular piece at the Salon. Consequently, labeling this motif as inherently unfavorable might be seen as overly nitpicking. To recapitulate, the motif portrayed in this artwork was not inherently provocative enough to elicit public outrage. Nevertheless, the remarkable controversy surrounding this painting can be attributed to its unique characteristics and historical significance. Let us delve deeper into these factors.

II. Manet’s Challenge to Convention

1. Age of Napoleon’s Dictatorship

The critiques and public condemnation surrounding “Olympia” were intricately intertwined with various factors of the time. Chief among these factors was the prevailing era itself. Within the backdrop of Napoleon’s rule, a dichotomy between external grandeur and underlying authoritarianism prevailed. As with all autocratic regimes, the Second French Empire of the 19th century enforced the strictest measures of censorship in 19th-century France. Hence, for young women like those depicted in “Olympia,” it was certainly not a favorable era to live in.

2. Manet’s Previous Controversy

Manet had a previous encounter with controversy. Approximately two years prior to presenting “Olympia,” he fearlessly displayed “Luncheon on the Grass,” an artwork that also faced vehement attacks. This painting also blatantly reminded of the prevailing upper-class norms, with a nude woman juxtaposed with two men attired in the fashionable clothing of the time, which triggered criticisms during that era. A critic vehemently condemned it, stating that “she could not be more undressed even if she tried.” However, not even two years passed before Manet, with even greater vividness, seemed to proclaim, “Let me show you what ‘undressed’ truly means,” bombarding the public with yet another factual revelation.

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Indeed, the audience discerned that “Olympia” portrayed a woman from their own time, a Parisian woman who was, without a doubt, the very same individual who appeared in “Luncheon on the Grass.” Manet made no endeavor to obscure this reality. Manet made no effort to conceal this valid fact.

The models for both of these works were young women, notably Victorine Meurent. Legend has it that Manet encountered her by chance while strolling through the Carré d’Antin district in Paris and promptly requested her to model for him. Her appeal to Manet extended beyond these two masterpieces, as she frequently appeared in his works during the 1860s. Manet portrayed this model without idealization or embellishment, rendering her in a starkly recognizable manner. This approach further fueled the public’s outrage.

3. Caught Voyeuristic Act

However, more critical than the aforementioned factors is the fact that “Olympia” made the male viewers of that time uncomfortable, evoking a sense of unease. People typically react by either bursting into laughter or becoming angered in front of the truth. So what was the uncomfortable truth that infuriated the (male) viewers of “Olympia” during that time? What aspect of the viewers’ sensibilities had “Olympia” prodded?

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In the context of that era, within the academic tradition, artists often depicted sensuous, unclothed women with a veneer of mythology or allegory, a style akin to painters like Titian. When a painting featured a reclining goddess from Greek mythology, nudity was deemed acceptable, and viewers appreciated such works. However, “Olympia” provoked a different reaction. Instead, devoid of the allegorical facade, the art piece revealed a young woman who seemed as though one could encounter her on the street immediately after leaving the art exhibition. In “Olympia”, Manet transformed a young woman into an object of public spectacle by shedding the protective layer of mythological context, which eventually resulted in strong criticism.