Manet, Olympia발음듣기
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Manet, Olympia
63문장
100% 한국어
번역 5명 참여
출처 : 칸아카데미
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(piano playing) Steven: There's a long tradition of the female nude represented in the most erotic, sensualist way.발음듣기
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Beth: It's a tradition that goes back to the ancient Greeks and Romans in sculptures, for example, of the goddess Venus, modestly covering her body after her bath.발음듣기
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And Manet in this painting that we're looking at here at the MusĂŠe d'Orsay, is clearly drawing on those traditions but doing something radically modern.발음듣기
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Steven: The immediate model for Manet was Titian's Venus of Urbino, except that he's stripping away the academic technique of the representation of space, of the turn of the body,발음듣기
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Beth: And here at the MusĂŠe d'Orsay, we can see in traditional nudes as Venus painted in a traditional way, clearly the images that Manet's Olympia is speaking to.발음듣기
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Steven: So by academic art, we're talking about the kind of art that was sanctioned by the official Academy that was associated with the government of France.발음듣기
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These were the leading artists of the time, they were saying this art is of quality and so of course it had a ready market value.발음듣기
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Beth: Well there was an idea that there was a definition of great art and there was no point in looking for what was new or different because great art was self evident, great art was based on the classical and the Renaissance.발음듣기
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She's not a Venus, her name is Olympia and she looks very much like a real woman in a real apartment in Paris.발음듣기
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Steven: So wait a minute, so how do you know she looks like a real woman, as opposed to a Venus?발음듣기
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When we look at ancient Greek sculpture or Renaissance paintings of the nude we have a woman who is perfectly beautiful.발음듣기
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And you can see her face is asymmetrical and her lips are a little bit too thin, she doesn't have that perfection.발음듣기
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Steven: In addition, the representations of the academic artists always show Venus or other nudes in a coy way.발음듣기
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One was confronted by her sexuality, there was no way to say, "I'm just looking at the ideal image of Venus, of the idea of beauty."발음듣기
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Steven: And it's even coarser than that because this woman was recognized as a courtesan, that is a kind of prostitute.발음듣기
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Steven: And what we're seeing here is Olympia's servant handing her flowers that presumably have just come from one of her patrons, one of her customers.발음듣기
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We must have, as the customer, walked into the room and startled the cat at the foot of the bed, as well as the two figures.발음듣기
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And so there is this vulgarity here, there really is doing even more than just stripping away the mythology that's confronting 19th century Paris with its own corruption.발음듣기
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Beth: When we use the word prostitute we think of a figure of much lower class and here we have a woman who is obviously a higher class prostitute.발음듣기
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Steven: What's interesting is that some of the caricatures that were made of this emphasize the shadow on her hands and feet, and some of the press actually spoke of her hands being filthy.발음듣기
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Beth: Where one would expect to see modeling on the female nude would be in the abdomen, around the breasts,발음듣기
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and here Manet's kept that really flat and you're right, the areas that we do see shadow are unexpected so the press interpreted her hand as drawing attention to her sexuality even though nudes for centuries had shown women with their hand placed across their genitals.발음듣기
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Steven: You mentioned the kind of flatness of her body and some art historians even said she's a bit of a paper cut out,발음듣기
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but Manet of course in so much of his work really does reject the clear articulation of represented space and confronts the viewer with the complexity of painting on a two-dimensional surface.발음듣기
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And an area where you can really see that are, for instance, in the way the toes peek out from under her slipper.발음듣기
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There is this awkwardness that reminds us that all of this is illusion and that in fact there is just this two-dimensionality of this canvas.발음듣기
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I'm not going to present you with this perfect illusion, the way that academic artists are doing where you don't even see a brush stroke.발음듣기
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So he's insisting on unmasking that illusion and then he's insisting on unmasking the illusion of our own interests in looking at these images.발음듣기
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Steven: Right, in so many traditional representations of the nude because the figure is not looking out at us, we can comfortably look at her.발음듣기
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But here we're confronted by her gaze and by her thinking and there is a much more problematic experience here.발음듣기
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Beth: And that's in the fact that she's a real woman, she's contemporary and the way she picks her head up, the way she looks out at us, the angularity of her body, it's in all those things.발음듣기
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This is a painting about art making and about the kinds of conventions that exist in art and making us, the viewer, aware of those conventions even as we look at this painting.발음듣기
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Beth: Manet is saying let's be honest about the materials, let's be honest about the subject and our motives and desires, and I think that that is a really interesting thing for art to do.발음듣기
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The great poet and art critic Charles Baudelaire called on artists to paint the beauty of modern life and I think Manet is taking up that call.발음듣기
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