{"id":792,"date":"2015-10-15T20:58:28","date_gmt":"2015-10-15T20:58:28","guid":{"rendered":"https:\/\/courses.candelalearning.com\/zelixart102\/?post_type=chapter&#038;p=792"},"modified":"2015-10-29T18:24:33","modified_gmt":"2015-10-29T18:24:33","slug":"manet-olympia","status":"publish","type":"chapter","link":"https:\/\/courses.lumenlearning.com\/atd-herkimer-arthistory2\/chapter\/manet-olympia\/","title":{"raw":"Manet, Olympia","rendered":"Manet, Olympia"},"content":{"raw":"Dr. Beth Harris and Dr. Steven Zucker provide a description, historical perspective, and analysis of Manet's\u00a0<em>Olympia<\/em>.\r\n\r\nhttps:\/\/youtu.be\/bihBbqzL96Y\r\n\r\n\u00c9douard Manet, <em>Olympia<\/em>, 1863, oil on canvas, 130.5\u00a0cm \u00d7\u00a0190\u00a0cm (51.4\u00a0in \u00d7\u00a074.8\u00a0in), (Mus\u00e9e d'Orsay, Paris).\r\n\r\n\u00c9douard Manet brought to Realism his curiosity about social mores. However, he was not interested in mirroring polite parlor conversations and middle class promenades in the Bois de \u00a0Boulogne (Paris\u2019 Central Park). Rather, Manet invented subjects that set the Parisians\u2019 teeth on edge.\r\n\r\nIn 1865, Manet submitted his risqu\u00e9 painting of a courtesan greeting her client (in this case, you), <em>Olympia<\/em>, of 1863, to the French Salon. The jury for the 1865 Salon accepted this painting despite their disapproval of the subject matter, because two years earlier, Manet\u2019s Luncheon on the Grass created such a stir when it was rejected from the Salon. (It was instead exhibited in Emperor Napoleon III\u2019s conciliatory exhibition\u2014the <em>Salon des R\u00e9fus\u00e9s<\/em>, or the Exhibition of the Refused. Crowds came to the Salon des R\u00e9fus\u00e9s specifically to laugh and jeer at what they considered Manet\u2019s folly.)\r\n\r\nSomehow they were afraid another rejection would seem like a personal attack on Manet himself. The reasoning was odd, but the result was the same\u2014Olympia became infamous and the painting had to be hung very high to protect it from physical attacks.\r\n\r\nManet was a Realist, but sometimes his \u201creal\u201d situations shocked and rocked the Parisian art world to its foundations. His later work was much tamer.","rendered":"<p>Dr. Beth Harris and Dr. Steven Zucker provide a description, historical perspective, and analysis of Manet&#8217;s\u00a0<em>Olympia<\/em>.<\/p>\n<p><iframe loading=\"lazy\" id=\"oembed-1\" title=\"Manet, Olympia\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/bihBbqzL96Y?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>\u00c9douard Manet, <em>Olympia<\/em>, 1863, oil on canvas, 130.5\u00a0cm \u00d7\u00a0190\u00a0cm (51.4\u00a0in \u00d7\u00a074.8\u00a0in), (Mus\u00e9e d&#8217;Orsay, Paris).<\/p>\n<p>\u00c9douard Manet brought to Realism his curiosity about social mores. However, he was not interested in mirroring polite parlor conversations and middle class promenades in the Bois de \u00a0Boulogne (Paris\u2019 Central Park). Rather, Manet invented subjects that set the Parisians\u2019 teeth on edge.<\/p>\n<p>In 1865, Manet submitted his risqu\u00e9 painting of a courtesan greeting her client (in this case, you), <em>Olympia<\/em>, of 1863, to the French Salon. The jury for the 1865 Salon accepted this painting despite their disapproval of the subject matter, because two years earlier, Manet\u2019s Luncheon on the Grass created such a stir when it was rejected from the Salon. (It was instead exhibited in Emperor Napoleon III\u2019s conciliatory exhibition\u2014the <em>Salon des R\u00e9fus\u00e9s<\/em>, or the Exhibition of the Refused. Crowds came to the Salon des R\u00e9fus\u00e9s specifically to laugh and jeer at what they considered Manet\u2019s folly.)<\/p>\n<p>Somehow they were afraid another rejection would seem like a personal attack on Manet himself. The reasoning was odd, but the result was the same\u2014Olympia became infamous and the painting had to be hung very high to protect it from physical attacks.<\/p>\n<p>Manet was a Realist, but sometimes his \u201creal\u201d situations shocked and rocked the Parisian art world to its foundations. His later work was much tamer.<\/p>\n\n\t\t\t <section class=\"citations-section\" role=\"contentinfo\">\n\t\t\t <h3>Candela Citations<\/h3>\n\t\t\t\t\t <div>\n\t\t\t\t\t\t <div id=\"citation-list-792\">\n\t\t\t\t\t\t\t <div class=\"licensing\"><div class=\"license-attribution-dropdown-subheading\">CC licensed content, Shared previously<\/div><ul class=\"citation-list\"><li>Manet, Olympia. <strong>Authored by<\/strong>: Dr. Beth Harris and Dr. Steven Zucker; Text by Dr. Beth Gersh-Nesic. <strong>Provided by<\/strong>: Khan Academy. <strong>Located at<\/strong>: <a target=\"_blank\" href=\"https:\/\/www.khanacademy.org\/humanities\/becoming-modern\/avant-garde-france\/realism\/v\/manet-olympia-1863-exhibited-1865\">https:\/\/www.khanacademy.org\/humanities\/becoming-modern\/avant-garde-france\/realism\/v\/manet-olympia-1863-exhibited-1865<\/a>. <strong>License<\/strong>: <em><a target=\"_blank\" rel=\"license\" href=\"https:\/\/creativecommons.org\/licenses\/by-nc-sa\/4.0\/\">CC BY-NC-SA: Attribution-NonCommercial-ShareAlike<\/a><\/em><\/li><\/ul><\/div>\n\t\t\t\t\t\t <\/div>\n\t\t\t\t\t <\/div>\n\t\t\t <\/section>","protected":false},"author":78,"menu_order":14,"template":"","meta":{"_candela_citation":"[{\"type\":\"cc\",\"description\":\"Manet, Olympia\",\"author\":\"Dr. Beth Harris and Dr. Steven Zucker; Text by Dr. Beth Gersh-Nesic\",\"organization\":\"Khan Academy\",\"url\":\"https:\/\/www.khanacademy.org\/humanities\/becoming-modern\/avant-garde-france\/realism\/v\/manet-olympia-1863-exhibited-1865\",\"project\":\"\",\"license\":\"cc-by-nc-sa\",\"license_terms\":\"\"}]","CANDELA_OUTCOMES_GUID":"","pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-792","chapter","type-chapter","status-publish","hentry"],"part":746,"_links":{"self":[{"href":"https:\/\/courses.lumenlearning.com\/atd-herkimer-arthistory2\/wp-json\/pressbooks\/v2\/chapters\/792","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/courses.lumenlearning.com\/atd-herkimer-arthistory2\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/courses.lumenlearning.com\/atd-herkimer-arthistory2\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/atd-herkimer-arthistory2\/wp-json\/wp\/v2\/users\/78"}],"version-history":[{"count":2,"href":"https:\/\/courses.lumenlearning.com\/atd-herkimer-arthistory2\/wp-json\/pressbooks\/v2\/chapters\/792\/revisions"}],"predecessor-version":[{"id":1475,"href":"https:\/\/courses.lumenlearning.com\/atd-herkimer-arthistory2\/wp-json\/pressbooks\/v2\/chapters\/792\/revisions\/1475"}],"part":[{"href":"https:\/\/courses.lumenlearning.com\/atd-herkimer-arthistory2\/wp-json\/pressbooks\/v2\/parts\/746"}],"metadata":[{"href":"https:\/\/courses.lumenlearning.com\/atd-herkimer-arthistory2\/wp-json\/pressbooks\/v2\/chapters\/792\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/courses.lumenlearning.com\/atd-herkimer-arthistory2\/wp-json\/wp\/v2\/media?parent=792"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/atd-herkimer-arthistory2\/wp-json\/pressbooks\/v2\/chapter-type?post=792"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/atd-herkimer-arthistory2\/wp-json\/wp\/v2\/contributor?post=792"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/atd-herkimer-arthistory2\/wp-json\/wp\/v2\/license?post=792"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}