While the figures in this work are
undeniably individualized, it verges on semi-abstract realism because of
Manet’s polarized use of value. They are either darkened or lightened to the
point where nuance is nearly lost, which forces the observer to attend to
available details more. While this near reverse-silhouetting will certainly get
this masterpiece noticed in a display hall, pictorially it is quite organized
and static. There is clear formal experimentation taking place, but the most
likely purpose for this work’s development is erotica (correction: a tonal and
conceptual inversion of Titian’s Venus of
Urbino).
Pictorial depth is beautifully decorative. The value organization creates unique “solid and empty” shapes with delicate textural line-work to create some depth. This line work blends into a graceful and global patterning of floral forms and drapery folds to create a subtle binding effect. It’s not difficult to imagine this work as a collection of gracefully meandering edges, lines and directional forces because of the impact value has on the development of forms. In this way, Manet has unified depth, texture, pattern, value and chroma.
A handful of interesting formal relationships are built. Colors are quite diluted overall, and that impression is maintained where values are dense. Where they are light, color appears more chromatic than it is. The use of values causes solid areas to appear weightless and empty areas to seem solid. If not for the recognizability of the subjects this could be a work based on field/ground relationships. Straight background shapes and the angular edges of the linen folds emphasize the curves of the woman somewhat (correction: if Titian’s work is considered, it becomes clear that this last observation is completely wrong).
Manet seems to be referencing Ingres’ Odalisque in a sensitive manner through the subject’s disposition and Praxiteles Aphrodite with cynicism through the gesture of her left arm. The formally stark rendering of the naked woman, combined with her youthful appearance and diminutive size, give this work an unmistakably off-putting tone. A step in the direction of abstraction that would characterize the early 20th century is clearly seen here in Manet’s treatment of value and shape, parallel to the same progress characteristic of Corot’s application and blending of brush stroke.
Pictorial depth is beautifully decorative. The value organization creates unique “solid and empty” shapes with delicate textural line-work to create some depth. This line work blends into a graceful and global patterning of floral forms and drapery folds to create a subtle binding effect. It’s not difficult to imagine this work as a collection of gracefully meandering edges, lines and directional forces because of the impact value has on the development of forms. In this way, Manet has unified depth, texture, pattern, value and chroma.
A handful of interesting formal relationships are built. Colors are quite diluted overall, and that impression is maintained where values are dense. Where they are light, color appears more chromatic than it is. The use of values causes solid areas to appear weightless and empty areas to seem solid. If not for the recognizability of the subjects this could be a work based on field/ground relationships. Straight background shapes and the angular edges of the linen folds emphasize the curves of the woman somewhat (correction: if Titian’s work is considered, it becomes clear that this last observation is completely wrong).
Manet seems to be referencing Ingres’ Odalisque in a sensitive manner through the subject’s disposition and Praxiteles Aphrodite with cynicism through the gesture of her left arm. The formally stark rendering of the naked woman, combined with her youthful appearance and diminutive size, give this work an unmistakably off-putting tone. A step in the direction of abstraction that would characterize the early 20th century is clearly seen here in Manet’s treatment of value and shape, parallel to the same progress characteristic of Corot’s application and blending of brush stroke.
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