Comparison of Ingre’s ‘Grande Odalisque’ and Titan’s ‘Venus of Urbino’

The depiction of the female nudity in history of art exists in plenty. as does the archetype from which these nudes got styled. Titian and Ingres were deliberated as some of the most significant artists of their time. accredited with being broad – minded and conservative (Gardner 290). Noting the painters and paintings, they stand as genius on their own considering their individual contributions which are monumental to the corresponding movements. Through identifying these works through their separate form content and context, the two works will be compared and contrasted. It remains easy to describe Ingres as a consistent supporter of the Neo – Classical stylishness from his period in David’s studio to the mid19th century. Ingres returned to Neo – Classics after having overruled the lessons of David, his teacher, and after having set the foundation for the emotional Romanticism expressiveness, the new style of young Delacroix and Gericault that Ingres would ultimately defend. Ingres’ early Romantic penchants can be seen most legendarily in his work La Grande Odalisque painted in 1814. On Ingres’, Grande Odalisque, a languid nude is outlaid in a sumptuous interior. On its first glance this nude appears to follow in the convention of the Venetian masters, for instance, Venus of Urbino (1538) by Titian. However, upon closer scrutiny, it seems that this is not a classical setting. Instead, Ingres has generated a distant eroticism emphasized by its exotic context. This work is full of sensuality, idealization and mystery. The background seems quite undefined with a purported black portion that makes it more attractive. The different shades of bluish clothing and decorations make the picture more striking to the viewer. The woman’s gaze, like Titan’s Venus, is directed straight towards the spectator and the fan made of peacock feathers in her hand looks as if it has just been used. Odalisque position and size gives a deeper meaning although, it is much more than a naked lady staring at the viewer. She reflects her life as a concubine, on her duties. She is believed to have been part of the sultan’s harem, she was there to satiate the lascivious pleasures of the sultan, despite what she may want or feel. She reflects a woman with deep thoughts, complex feelings and emotions (Lewis 328). In the cognizance of a 19th century French male observer, the sort of individual for whom this picture was made from, the odalisque would have made up not only a harem slave, being itself a fallacy, but a set of desires and fears connected to the long aggression history between Islamic Asia and Christian Europe. Certainly, Ingres’ porcelain sexuality is acceptable even to a progressively prudish French culture due to its subject’s distance. While the Renaissance painter Titan veiled his eroticism in myths, Ingres covered his piece of desire in a murky exoticism. Some art historians suggest that colonial politics played a role too on the work. France was expanding its African and Eastern possessions, often brutally at this time (Gardner 441). The myth of the barbarian served the French who would then claim a moral authoritative. Incidentally, on clear look, anyone can notice something wrong with the figure’s anatomy. Titian is deliberated to have been an outstanding Venetian painter of the 16th – century, and the former of the Venetian colorist and painterly tradition. He remains one of the significant figures in the Western art history. Tiziano Vercelli got born in the northern Venice, in 1477. He got trained by both Giorgione and Bellini, and after