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Eduard Manet, when he painted this picture, clearly already then, was quite dismissive of all the official positions of art, so this masterpiece is quite obviously different from all his previous works, which were written until 1863.
It’s not possible to say whether this is good or bad, but it’s obvious that such a moment took place. This work is directly saturated through the experience of previous masters, but at that moment, it was a breath of fresh air, in a stuffy and languid room, the paintings were the same in style.
Of course, the naked female body fascinated and captivated many artists, before Eduard Manet, and even after. But in the plots of the artist, at this moment, the imperceptible style of impressionism begins to be seen.
In this picture, it is clearly noticeable that a complete generalization of forms, both female and indoor, comes to the fore, in general, the saturation of light increases. Now the use of chiaroscuro in the third dimension is almost forgotten. Some of his contemporaries did not particularly relate to this kind of paintings, and even called Mane's works made in this style simply playing cards. On the one hand, Olimpia was made very carelessly in places, and rather sloppy strokes are visible, because of which sometimes it seems that there is some incompleteness in the picture.
Of course, that this work is one of the most significant, and most likely, is nothing more than a rather turning point in his life. It is also noteworthy that Mane did not invite a model to work on this picture, with whom he usually painted, but it was not strange, but for this picture he called a real courtesan and Napoleon's mistress. Maybe this ultimately influenced the writing style of this work of art, which now pleases the eye of all visitors to the Paris Museum.
Painting Surikov Boyarynya Morozova Description