There is something so different about artwork โ the way one image can capture so many different political, social, and aesthetic perspectives fascinates me. Coming home from Paris, I opted for a class on art history that has satisfied my craving for artistic culture, and has opened my eyes to the endless possibilities of what our imaginations and hands can do when we have no truly fulfilling way to express ourselves.
Each two hour class is chalk full of new, insightful information about not just the visual characteristics of works โ the perpetually red and blue representations of the Madonna, or the use of a dog in various works as a symbol of eroticism โ but the way that they convey political issues and social attitudes.
Impressionism, what we now accept as an aesthetically pleasing style that often decorates our walls, coffee mugs, and notecards, came out of many changing attitudes in 19th century France, including the Haussmanization of Paris: the newly transformed city became a place to see and be seen, and thus the focus on first impressions and momentary judgements.
All this means to say that art is important to not just culture, but to the advancement of our society as a whole. Olympia is, without a doubt, my favorite painting. She is a realistic interpretation of a woman โ and Manet did this on purpose. Olympia, however, looks right at you. She confronts you, forces your gaze upon her and challenges you with the confidence and coolness of her eyes. Her servant offers her a bouquet of flowers, presumably from a, ahem, suitor.
If you look at the background, Manet cuts it in half using a wall, and the line that bisects the painting leads your gaze directly to the placement of her hand and the symbolism of her gesture. Even their names echo a mythological understanding โ Venus and Olympia are both powerful Greek references โ and the color palette, general setup, and subject are shockingly similar.
