Édouard Manet法国, 1832–1883奥林比亚
Olympia
关于这幅画
《奥林匹亚》是法国写实派画家愛德華·馬奈创作于1863年的一副油画。该画受乔尔乔内《沉睡的维纳斯》，提香的《乌尔比诺的维纳斯》及戈雅的《裸体的马哈》的影响。现藏于巴黎的奥塞美术馆。
马奈展出这幅画以后受到大众的批判，因为大众认为这不仅仅是思想自由或者表现了女性裸体的问题，而是将维纳斯画成了娼妓。所有画中女子的装饰，如头上插的兰花、身上的首饰都暗示着她是一名妓女而非女神。实际上“奥林匹亚”就是1860年代巴黎娼妓的代名词。
作品信息
- 馆藏编号
- RF 644
已收入目录
出处
- 维基数据
- 图片： 奥赛博物馆 — Édouard Manet · Public domain · Wikimedia Commons
与此同时，在Édouard Manet的生活中
完整生平1861
His first participation in the Salon
In 1861 the Salon accepted two canvases by Manet: “Portrait of Monsieur and Madame Manet” and “The Spanish Singer”. Critics received the portrait coldly, while “The Spanish Singer” was admired by Théophile Gautier and, because of its popularity, hung in a more conspicuous place; the work intrigued young artists and brought new business to his studio.
1862
“Music in the Tuileries”: the fury of the public
In 1862 Manet exhibited “Music in the Tuileries” (probably painted in 1860), where the strollers include the poet Baudelaire, the musician Offenbach and the artist himself. It mostly provoked fury: the thick brushstrokes looked crude and unfinished, several visitors threatened to destroy the canvas; Delacroix defended it, and the controversy made Manet a well-known name in Paris.
1863
“The Luncheon on the Grass” at the Salon des Refusés
The Salon of 1863 rejected “The Luncheon on the Grass” (originally “Le Bain”), and Manet exhibited it at the Salon des Refusés, a parallel exhibition initiated by Napoleon III after a public outcry, the jury having accepted only 2,217 of more than 5,000 submissions. The juxtaposition of dressed men and a nude woman and the sketch-like handling caused a scandal; one critic compared the brushwork to a “floor mop”.
1863
Marries Suzanne Leenhoff
In 1863, a year after his father's death, Manet married Suzanne Leenhoff at a Protestant church: a Dutch-born piano teacher two years his senior with whom he had been romantically involved for about ten years. Auguste Manet had employed her to teach his sons the piano, and she may also have been Auguste's mistress.
1863
Married: Suzanne Manet
1865
“Olympia” at the Salon: a scandal
In 1865 the Salon accepted “Olympia”, and the frank depiction of a self-assured prostitute created a scandal; according to Antonin Proust, only the precautions taken by the administration prevented the painting from being punctured and torn. The popular press caricatured it, while the avant-garde, including Courbet, Cézanne and Monet, championed it.
