Olympia author. Eduard Mana

15.06.2019

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Plot

On the canvas we see the bedroom of a young woman. Nude girl heads. The maid brought her a bouquet from the fan, but the heroine would seem to notice that the audience look at her, and therefore did not pay attention to the servant, but looks straight.

Olympia Eduard Mana, 1863

The nudity of the girl covers only decorations. In the plated back the hair lurks orchid. On the legs - elegant shoes. In stocking the bed - a black kitten, whose posture says that he, like the hostess, noticed Soglyadatayev.

Simulator Quiz Meran for miniature called shrimp

The plot largely repeats the "Venus Urbinsk" Titian. However, Titsian women in the background are engaged in preparing attached that, together with a sleeping dog, Venus should mean home comfort and loyalty. And the man's male carries a bouquet of flowers from the fan - the flowers are traditionally considered a symbol of gift, donations.

Venus Urbinskaya, Titian, 1538

Infused on Mana and the poetic collection of his friend Charles Bodler "Flowers evil." The initial design of the picture was related to the metaphor of the Poet "Woman Cat", passing through a number of his works dedicated to Jeanne Duval.

A representative of the Paris Bohemia, a simulator of the Quiz Möran, for miniature ninnable shrimp, served as a model not only for Olympia, but also for many other female images from paintings mana. Subsequently, she herself tried to become an artist, but did not succeed. There are also assumptions that the artist used the image of famous curtains, the mistress of the emperor Napoleon Bonaparta Margarita Bellands.

Context

Today Olyolympia is considered to be a masterpiece, and the plot is the hostelscent for early impressionism. At the same time, in 1865, in the Paris Salon, ordinary people and connoisseurs of art were completely different.

Newspapers competed in the sophistication of insults. "Never and no one else to see something more cynical than this" Olympia, "wrote a modern critic. - This is a gorilla female made of rubber and depicted completely naked on the bed. Her hand seems to bring indecent convulsion ... Seriously speaking, young women in anticipation of the child, as well as girls, I would advise to avoid similar impressions. "

Contemporaries considered Manet Malyar and Defense

The frightened administration put two guards from the painting, but this was not enough. The crowd was not afraid of the Military Karaul. Several times the soldiers had to expose weapons. The picture collected hundreds of people who came to the exhibition only to wear the picture and spit on it.

As a result, the picture turned into the farthest hall of the salon in such a height that it was almost not visible. The French critic Jules Clayti enthusiastically reported: "Shameless girl, released from under the brush mana, finally determined the place where even the lowest landscair did not have to do."

At the first exhibition "Olympia" protected from an angry crowd

Do you ask you, it was the first naked woman on the canvas. Of course not. Far there. But before Mana, naked nature was always unearthly: Nude was depicted goddesses, the heroines of myths and other never existing ladies. Mane depicted a naked heter, providing a canvas with diverse details, no doubt that it was not Venus, not Athena and not what other goddess. And the style of a few jewelry and the style of the girl's shoes indicate that Olympia lives in modern times, and not in any abstract attic or the Ottoman Empire.

Orchid in the hair of Olympia - Aphrodisiac. The decoration on the neck looks like a ribbon tied in a packaged gift. Shot of a shoe - an erotic symbol, a sign of lost innocence. The ridden kitten with a raised tail is a classic attribute in the image of witches, a sign of a bad omen and erotic excesses. Even the dark-skinned maid reminded that some expensive prostitutes in Paris of the XIX century kept African, whose appearance brought the association with the exotic pleasures of Eastern harem.

The last drop was the fact that the girl with the canvas man is called the same as the heroine of Roman Alexander Duma "Lady with Camellias" (1848). For the artist's contemporaries, this name was not associated with a distant Mount Olympus, but with a prostitute.

Even from friends, a few dared to speak and publicly protect the great artist. Some of these few were writer Emil Zol and the poet Charles Baudler, and the artist Edgar Dega said then: "Fame that Mane won his Olympia, and the courage, which he showed, can be compared only with fame and courage Garibaldi."

Bajler wrote Mana: "So, I think again I need it to talk to you - about you. You need to show you what you are standing. What you need is just stupid. Do you laugh, ridicule annoy you, to you unfair, etc. And so on. Do you think you are the first person in such a situation? Are you talented by Tutubriand or Wagner? But over them mock no less. But they did not die from this. And so as not to awaken in you excessive pride, I will say that both of these people are each of its kind - there were examples for imitation, and even in the fruitful era, whereas you, only the first one in the middle of the decline of art of our time. I hope you will not be in complaints of the unceremoniousness, with which I set out you all. You are well known for my friendly affection. "

Fate artist

In 1867, Mane arranges his own exhibition and becomes the central figure of the artistic intelligentsia of Paris. Around it, such young artists, as Pissarro, Cezanne, Claude Monet, Renoir, Degas are united. They usually gathered in the cafe Gerbua on Batinol Street, so they were conventionally called the Batinol school. Combined their reluctance to follow the canons of official art and the desire to find new, fresh forms, as well as the search for ways to transfer the luminous medium, air, enveloping objects. They sought to get closer as much as a person sees one or another item.

Mana first portrayed a naked heter in the picture

Mana, who used to other French artists, was carried away by Japanese art, refused to carefully transfer the volume, from the study of color nuances. Inexpressive volume in the picture Mane is compensated, as in Japanese engravings, dominance of the line, contour, but contemporaries of the artist, the picture seemed unfinished, carelessly, even ineptly written. Therefore, Mane was called the flawed and Malar, and he fell into the salons rarely - the artist had to build individual barracks for cloths or arrange the exhibitions in their workshop.

Success finally came in the 1870s, when the well-known artist of works by Paul Durane-Rueel bought about 30 of his work.

In 1874, Manne refused to participate in the first exhibition of impressionists. Why he accepted such a decision, it's hard to say. According to one of the versions, Paul Cezanne was, putting his "modern Olympia" to review. The picture partly quoted Mane, but the plot was transformed - the client was added. Mana took the picture Cezanna as Paskvil on his "Olympia" and was deeply leaving.

"Modern Olympia", Paul Cesann, 1874

In the future, Paul Gauguen, Edgar Degas, Henri Fannut, Pablo Picasso, Jean Dubuloff, Rena Magritt, Francis Newton, Gerkre Richter, A. R. Penk, Felix Valloton, Jacques Vyon, Erro, Larry Rivers. In 2004, the caricature depicting George Bush-ml. In the pose of Olympia, was removed from the exposition of the Washington City Museum.

"Olympia" mana after the salon almost a quarter century spent in the workshop. The next time the light saw it in 1889 at the exhibition on the occasion of the 100th anniversary of the Great French Revolution. Rich American wished to buy it for any money. Then Claude Mona arranged a campaign to save the canvas from emigration: he collected 20,000 francs and bought out "Olympia" from the widow of the artist to bring her to the state.

As a lot of interesting and unusual, you can learn from the history of only one picture. History of Olympia Eduard Mana as a small adventure novel, but with a good end.
Olympia "is one of the best paintings of the French Impressionist Eduard Mana, which was created in 1863. The canvas is a masterpiece of modern painting. Eduard mana 1832-1883g is a French painter, engraver, one of the hedgeons of impressionism.

In all centuries, Venus was revered as the ideal of female beauty, in the Louvre and other museums of the world there are many paintings with naked female figures. But Manne called on the look of beauty not only in the distant past, but also in modern life, so with this one did not want to reconcile the enlightened crossmen.

The picture shows a midwife naked woman. With right hand, it relies on lush white pillows, the upper body is slightly raised. Her left hand rests on the thigh, covering the launo. The face and body of the model facing the viewer.
On its white-white bed, a creamy bedspread was fed, richly decorated along the edge with a floral pattern. The tip covered the girl holds his hand. The viewer is visible and a dark red bottom of the bed.

The girl is completely naked, there are only a few jewelry on it: her retired red hair decorates a large pink orchid, on her neck with a bouncy with a bouncy with a storm with a pearl. Earrings are selected to the Pearl of Pearl, and on the right hand of the model - a wide gold bracelet with a suspension. Girl legs decorate elegant shoes.

The second character on the canvas mana is a black maid. In her hands she holds a luxury bouquet in white paper. The black woman is dressed in a pink dress, brightly contrasting with its skin, and its head is almost lost among the black tones of the background. In the population of the bed, a black kitten settled, serving an important composite point in the right part of the picture.

The spatial depth of the interior in the picture is practically absent. The artist operates in just two plans: bright human figures - in the foreground and dark interior - in the background.
Two sketches have been preserved and two etching from the painting of Olympia.

Olympia Predecession:

Olympia "was one of the most famous NU XIX century. However, Olympia has many preceding famous samples: the image of a lying nude woman has a long-standing tradition in the history of art. The direct predecessors of Olympia manne are "Sleeping Venus" Georgeon1510 and Venus Urbinskaya Titian 1538. Nude women are written on them almost in the same posture.

The straight and open look of the nude Olympia is already known for the "Maha naked" Goya, and the contrast between pale and dark skin has already begun in the picture "Esther" or "Odalisk" Leon Benowville 1844, although in this picture a white woman is dressed in this picture. By 1850, in Paris, the photographs of the lying women were widespread.

Scandal around the picture:

One of the reasons for the scandaliness of the canvas was his name: the artist did not follow the tradition of justifying the nudity of a woman in the picture of the legendary plot and did not call his nude "mythological" name "Venus" or "Dana".
Unusually the name itself, which gave the girl mana. For a half dozen years before, in 1848, Alexandra Duma publishes his famous novel "Lady with Camellias", in which the name Olympia is the main antagonist and colleague of the Heroine Roman. Moreover, this name was nominable: so often called the ladies of semifice. For the artist's contemporaries, this name was not associated with a distant Mount Olympus, but with a prostitute.
Symbols in the picture:
In the Titian picture of Venus Urbinskaya, women in the background are engaged in preparing the attachment that, together with a sleeping dog, Venus should mean home comfort and loyalty. And the man's male carries a bouquet of flowers from the fan - the flowers are traditionally considered a symbol of gift, donations. Orchid in the hair of Olympia - Aphrodisiac.

Pearl decorations wore the goddess of Love Venus, the decoration on the neck of Olympia looks like a ribbon tied in a packed gift. The rissed kitten with a raised tail is a classic attribute in the image of witches, a bad omen sign and erotic excesses.

In addition, the bourgeois was especially indignant by the fact that the model (naked woman), contrary to all the norms of public morality, did not lie, modestly singing his eyes. Olympia appears before the viewer not dorming, like Venus Georgeon, she looks in his eyes. Right in the eyes of a prostitute, her client usually looks, in this role, thanks to Mane, everyone who looks at his Olympia.

Only passes Olympia from the dream to awaken,
Black Bulletin with Spring Spring in front of her;
Then the messenger slave that can't forget
Night of love by blossoming days:
Major Virgo, in whom Flame Passion. (Zahari Astryuk)

Continuation of the scandal.

Gustave Kourbe compared Olympia with a peak lady from a deck of cards, just released from the bath. Mana was accused of immorality and vulgarity. Antonin Prost remembered that the picture survived only thanks to the precautionary measures adopted by the exhibition administration.

"Never and no one else to see something more cynical than this" Olympia, "wrote a modern critic." This is a female Gorilla, made of rubber and depicted with a completely naked, on the bed. Her hand seems to bring indecent convulsion. .. Seriously speaking, young women in anticipation of the child, as well as girls, I would advise to avoid similar impressions. "

Several times the soldiers had to expose weapons. The picture collected hundreds of people who came to the exhibition only to wear the picture and spit on it. As a result, the picture turned into the farthest hall of the salon in such a height that it was almost not visible.

Degi artist said:
"Fame that Mana won his Olympia, and the courage, which he showed, can be compared only with fame and courage Garibaldi."

Who served as a model for the painting?
The Olympia model served as a favorite simulator mana - Quiz Möran. However, there is an assumption that Manne used in the picture the image of famous curtains, the mistress of the emperor Napoleon Bonaparte Margarita Bellands.

Ambruz Vollar described it as an opposed creature, who was talking to Paris street women. From December 1861 to January 1863, she worked as a model in the artist Tom Kutur. Mana met her in 1862, when she was 18 years old. Until 1875, the quiz posed him for numerous webs, including his masterpieces such as "Street singer", "Breakfast on the grass", Olimpia and Railway. She was also a model of Edgar Degas.

In the early 1860s, he became the mistress of the emperor Napoleon III (in 1865 their connection was broken: Margarita argued that her son was born in 1864 - not from the emperor, the opinions of biographers differ on this score). About Margarita Bellande is mentioned in the diary of the Gekro Brothers (1863). After 1870, she moved to England, married a rich Lord, who later threw him. She became the heroine of many cartoons of the era, often obscene. Published a book of memories (1882).

Later, she began to feed the weakness to alcohol and started a love relationship with the Marie Pellegri model, as he told in his autobiographical novel, the memories of my deceased life (1906) Mane George Moore. At first (Velcro), I hung up in a cafe and bars, and then I got myself a monkey, dressed in rags, played on the street on the guitar and asked for a chance. I had a hoping at the provincial circus, I lived like the content in Angers and Nante.

Painting in imprisonment:

After the closure of the salon "Olympia" was doomed to almost 25 years of imprisonment in the artistic workshop of Mana, where they could only see her close artist's friends. No museum, no gallery, no private collector wanted to purchase it. During his life, Mane did not wait for the recognition of Olympia.

A HAPPY ENDING:

More than a hundred years ago, Emil Zola wrote in the "Evenman" newspaper "Fate prepared a place for Olympia and" Breakfast on the grass "in Louvre, but it took many years that his prophetic words come true. In 1889, a grand exhibition dedicated to 100- The anniversary of the Great French Revolution, and Olympia was personally invited to take the honorable place among the best paintings.

There she was captivated by one rich American who wished to buy a picture for any money. That's the case, there was a serious threat that France would forever lose the brilliant masterpiece man. However, the friends of the deceased by this time were scored on this time.
Claude Monet suggested buying out the "Olympia" of the widow and to give it to the state, since he himself cannot pay. Subscription was opened, and collected the necessary amount - 20,000 francs.

There was a "only trifle" - to persuade the state so that it takes the gift. According to French laws, the work, a given to the state and adopted by him, must be exhibited. The artist's friends counted on it. But at the uncommitable "table of ranks" on Louvre Mana, she did not yet "pull," and had to be held the Luxembourg Palace, where Olympia stayed for 16 years - one, in the gloomy and cold hall.

Only in January 1907, under the cover of the night, quietly and unnoticed, she was postponed to Louvre. And in 1947, when the Impressionism Museum was opened in Paris, Olympia took out the place for which the right from the day of his birth was opened. Now the audiences are reverently and respectfully.

Sources http://maxpark.com/community/6782/content/2205568.

Olympia - Eduard Mana. 1863. Canvas, oil. 130.5x190 cm

Created in 1863, the painting "Olympia" immediately attracted attention. True, not at this kind of resonance was calculated by its Creator Edward Man. Today, we, sophisticated viewers, is difficult to believe it, but a naked girl, standing on white sheets, caused a storm of indignations.

Salon of 1865 entered the story as one of the most scandalous in the history of world art. People openly outraged, scolded the artist, tried to spit on the canvas, and some were stripped at all to pierced by his umbrellas or cane. In the end, the leadership of the exhibition had to withdraw her under the very ceiling, and at the bottom Issue.

What insulted the viewer's view so much, because this is not the first job in the style of Nude in fine art? The thing is that the painters depicted the heroine of the myths, beautiful goddesses, and the painter dares to "undress" a modern woman in his work, quite concrete. This shamelessness could not demolish the public!

A model for work was the favorite simulator of Edward Mane Quiz Möran, and inspired the masters on writing the canvas as a classic -, Velasquez, Jordano,.

The attentive viewer will notice that the author of Olympia completely copied the compositional scheme of his glorified predecessors. But at least a cloth and carries an obvious imprint, mana managed to breathe absolutely another character through his own style, as well as appeals to the real heroine. The author, as it were, tried to tell the viewer: contemporaries are no less attractive than repeatedly suspended Venus of the past.

Young Olympia lies on a white bed, while her fresh light golden skin contrasts with sheets discharged using a cold blue shade. The posture of it is relaxed and free, but a volitional dismissed look, aspiring right on the viewer, gives her a dynamism and hidden grandeur. The figure of it (in contrast to the classic examples) is devoid of underlined rounds, on the contrary, it reads a certain "angularity" - intentional receiving the author. By this he wanted to emphasize the modernity of his model, as well as indicate a volitional nature and independence.

In the way, the viewer moves the viewer to the left - here there is a black maid with a bouquet of flowers, which she brought to prevent the charming. Dark skin skin contrasts sharply and with bright colors, and white clothes.

In order to focus the viewer as much as possible on the main heroine, Edward Mana as if on purpose did not work in detail the background, as a result, carefully and carefully written out Olympia appears forward, as if overpaying the closed picture of the picture.

Not only an innovative plot and brilliantly verified composition make a picture of an exceptional masterpiece - the color flavor of the canvase deserves individual admirations. The finest nuunting of ohwerous, golden, beige shades surprisingly harmonizes with a blue and white flavor, as well as the smallest gradations of golden, who chosen shawl into bed at the heroine.

The picture of something resembles a sketch or etude. Such an impression is caused by the smallest working out of the details and the line in the image of the main character, as well as several plane techniques of the painter - Mana deliberately refused the traditional letter of Alla Prima. The artist was confident that such a plane interpretation makes the work more emotional and bright.

It is known that after the picture was exhibited in the cabin, the audience began for fierce trafficking mana, and he was even forced to escape to the province, and after and to leave at all.

Today, the delightful "Olympia" is ranked among the best paintings created ever, and its author forever entered the history of world art as a great and exceptional Creator.

Earrings are selected to the Pearl of Pearl, and on the right hand of the model - a wide gold bracelet with a suspension. Girl legs decorate elegant shoes.

The Olympia model served as a favorite simulator mana - Quiz Möran. However, there is an assumption that Manne used in the picture the image of famous curtains, the mistress of the emperor Napoleon Bonaparte Margarita Bellands.

Edouard manet 081.jpg.

Eduar Mana:
Venus Urbinskaya
Copy of ticiana pattern

Olympia Study Paris.jpg.

Eduar Mana:
Sketch K. Olympia
Sangin

Olympia Study bn.jpg.

Eduar Mana:
Sketch K. Olympia
Sangin

Eduar Mana:
Olympia
Watercolor 1863

Eduar Mana:
Olympia
Etching 1867

Eduar Mana:
Olympia
Outline with Aquarty 1867

Eduar Mana:
Olympia
Woodcut

Iconography

Predecessors

Olympia was one of the most famous NU XIX century. However, Olympia has many preceding famous samples: the image of a lying nude woman has a long-standing tradition in the history of art. The direct predecessors of Olympia manne are " Sleeping Venus"Georgeon 1510 and" Venus Urbinskaya"Titian 1538. Nude women are written on them almost in the same posture.

"Olympia" Mana detects a great similarity with the picture of Titian, because it was with her mana who wrote a copy during the years of apprenticeship. And Venus Urbinskaya, and Olympia are depicted at home; As in the picture of Titian, the back plan "Olympia" mana is clearly divided into two parts by a vertical in the direction of the lamp of the lying woman. Both women are equally relying on the right hand, both women have a right hand decorated with a bracelet, and the left - covers the Lono, and the look of both beauties is directed straight on the viewer. On both paintings in the feet in women, a kitten or a dog is located and a maid is present. A similar type of citation with the transfer of the Renaissance Motive to modern Paris realities Mane has already used when creating a "breakfast on the grass".

Giorgione - Sleeping Venus - Google Art Project 2.jpg

Georgeon:
Sleeping Venus

Léon Benouville Odaliske.jpg.

Leon Benuville:
Esther or Odalisque

On Mana influenced not only painting and photography, but also the poetic collection of Charles Bodler "Flowers evil". The initial intent of the picture was related to the metaphor of the poet " catwoman", Passing through a number of his works dedicated to Jeanne Duval. This connection is clearly traced in the original sketches. In the finished picture at the feet of the woman, a torn cat appears with the same as the mistress, an expression of the eyes.

The name of the canvas and its subtext

One of the reasons for the band's scandaling was also his name: the artist did not follow the tradition of justifying the nudity of a woman in the picture of the legendary plot and did not call his nude "mythological" title type " Venus" or " Dana" In the painting of the XIX century. Numerous "Odalist" appeared, the most famous of which, of course, "Big Odalisk" Jean Auguste Dominica Engra, however, mana neglected and this option.

On the contrary, the style of a few jewelry and the style of the girl's shoes indicate that Olympia lives in modern times, and not in any abstract attic or the Ottoman Empire.

Unusually the name itself, which gave the girl mana. For a year and a half before this, in 1848, Alexander Duma publishes his famous novel "Lady with Camellias", in which the name Olympia is the main antagonist and colleague of the Roman Heroine. Moreover, this name was nominable: so often called the ladies of semifice. For the artist's contemporaries, this name was not associated with a distant Mount Olympus, but with.

This confirms the symbolic language of the painting:

In the Titian picture of Venus Urbinskaya, women in the background are engaged in preparing the attachment that, together with a sleeping dog, Venus should mean home comfort and loyalty. And the man's male carries a bouquet of flowers from the fan - the flowers are traditionally considered a symbol of gift, donations. Orchid in the hair of Olympia - Aphrodisiac.
Pearl ornaments wore the goddess of Love Venus, the decoration on the neck of Olympia looks like a ribbon tied in a packaged gift.
The ridden kitten with a raised tail is a classic attribute in the image of witches, a sign of a bad omen and erotic excesses.
In addition, the bourgeois was especially indignant by the fact that the model (naked woman), contrary to all the norms of public morality, did not lie, modestly singing his eyes. Olympia appears before the audience not dormant as Georgeon Venus, she looks straight into his eyes. Right in the eyes of a prostitute, her client usually looks, in this role, thanks to Mane, everyone who looks at his Olympia.

To whom the idea came to call the picture "Olympia", remained unknown. In the city, a year after the creation of the picture, the poem appeared " Daughter island"And the poems of Zahari Astryuk, dedicated to Olympia. This poem is indicated in the catalog of the Paris Salon in 1865

Zakhari Astryuk wrote this poem inspired by the picture of his friend. However, it is curious that in the portrait of the brush mana of 1866 Zahari Astryuk is shown not against the background of Olympia, and on the background of Venus Urbinskaya Titian.

Scandal

Paris Salon

For the first time to introduce their work at the Paris Salon Mana tried in 1859. However, his "absinthe lover" to the salon was not allowed. In 1861, in the Paris Salon, the favor of the public was reducing two works Mana - "Guitaro" and "Portrait of Parents". In 1863, the work of the Paris Salon's jury again did not take place and were shown within the framework of the "Salon of Cancer", where the "Breakfast on the Grass" was in the epicenter of a large scandal.

Probably, Mana was going to show "Olympia" at the Paris Salon in 1864, but since it was again depicted by the same naked quiz Möran, Mana decided to avoid a new scandal and offered to the Paris Salon of 1864 instead of Olympia "Episode of Bulls" and " Dead Christ with Angels", But they were denied recognition. Only in 1865, Olympia was presented at the Paris Salon along with the "Razing of Christ."

New manner of writing

Because of Olympia, Mane broke out one of the largest scandals in the art of the XIX century. Scandalous turned out to be like the plot of paintings and picturesque artist's manner. Mana, who fond of Japanese art, refused to carefully study the nuances of the Light and Dark, to which other artists were striking. Because of this, the contemporaries could not see the volume of the depicted figure and considered the composition of the paintings by coarse and flat. Gustave Kourbe compared Olympia with a peak lady from a deck of cards, just released from the bath. Mana was accused of immorality and vulgarity. Antonin Prost remembered that the picture survived only thanks to the precautionary measures adopted by the exhibition administration.

Never had anyone else to see something more cynical than this "Olympia," wrote a modern critic. - This is a gorilla female made of rubber and shown completely naked on the bed. Her hand seems to bring obscene convulsions ... Seriously speaking, young women in anticipation of the child, as well as girls, I would advise to avoid such impressions.

The canvas exhibited in the salon caused an excitement and was subjected to a wild mockery from the crowd, a criticism that fell from the newspapers. The frightened administration put two guards from the painting, but this was not enough. Crowd, Khokhalo, howling and threatening with canes and umbrellas, did not grumble and a military guard. Several times the soldiers had to expose weapons. The picture collected hundreds of people who came to the exhibition only to wear the picture and spit on it. As a result, the picture turned into the farthest hall of the salon in such a height that it was almost not visible.

Degi artist said:

Life path of the web

- The picture is written.
- Picture is exhibited in the cabin. After that, almost a quarter of a century it is stored in an inaccessible outsider workshop of the author.
- The picture is exhibited at the exhibition on the occasion of the 100th anniversary of the Great French Revolution. A rich American expresses a desire to buy her for any money. Mane's friends are collecting 20,000 francs on a subscription and repurchase the "Olympia" of the widow of the artist to bring her to the state. Not too delighted with such a gift of power after some resistance still takes the gift and are deposited by the store in the Luxembourg Palace.
- No longer noise "Olympia" is transferred to the Louvre.
- Finally, the picture is still occupied by an honorable place in the Impressionism Museum that opens.

Picture influence

The first artist who created his work on the motives of Olympia was Paul Cesanne. However, in his " Modern Olympia"He went a little further, depicting in addition to the most prostitute and the customer's maid. Paul Gaen wrote a copy of Olympia in 1891, Olympia inspired both Edgar Degas, and Henri Fannathe. Pablo Picasso replaced in his parody of "Olympia" a dressed maid with two naked men.

In the entire 20th century, the motive of the Olympia was grinding from various artists. These include Jean Dubuloff, Rena Magritte, Francis Newton Souza, Gerhard Richter, A. R. Penk, Felix Walloton, Jacques Viyon and Erro. Larry Rivers wrote in the town of the black Olympia and called his creation " I Like Olympia in Black Face" In the 1990s. A three-dimensional Olympia appeared. American artist Seward Johnson created a sculpture based on Olympia mana called " Confrontational Vulnerability.».

In 2004, the caricature depicting George Bush-ml. In the pose of Olympia, was removed from the exposition of the Washington City Museum.

Filmography

"Softwear with a black cat", film Alena Zobhera From the "Paletres" cycle (France, 1998).

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Notes

Links

In the database of the Orsay Museum (FR.)

An excerpt characterizing Olympia (picture mana)

Bilibin was a man of thirty-five years old, idle, one society with Prince Andrey. They were familiar back in St. Petersburg, but even closer I got acquainted at the last arrival of Prince Andrei to Vienna with Kutuzov. As Prince Andrei was a young man who promises to go far on a military field, so, and even more, promised Bilibin on diplomatic. He was still a young man, but already an elderly diplomat, as he began to serve from sixteen years, was in Paris, in Copenhagen and now in Vienna occupied a rather significant place. And the chancellor and our messenger in Vienna knew him and treated them. He was not from the large number of diplomats who are obliged to have only negative advantages, not to make well-known things and speak French in order to be very good diplomats; He was one of those diplomats who love and know how to work, and, despite her laziness, he sometimes spent the night at the desk. He worked equally well, whatever the essence of work. He was not interested in the question "Why?", And the question "How?". What was a diplomatic affair, he was still; But make a skillful, metro and elegant circular, memorandum or report - in this he found great pleasure. The merits of Bilibin are valued, except for written works, and according to his art, apply and speak in the highest spheres.
Bilibin loved the conversation just as he loved work, only when the conversation could be elegantly wit. In society, he constantly waited for the chance to say something wonderful and engaged in a conversation not otherwise, as under these conditions. The conversation of the Bilibina was constantly crouched by original incentive, complete phrases that have a common interest.
These phrases were manufactured in the inner Laboratory of Bilibin, as if on purpose, portable properties, so that insignificant secular people could comfortably remember them and transfer them from living rooms in the living room. And indeed, Les Mots de Bilibine Se Colportaient Dans Les Salons De Vienne, [Bilibin reviews were dispersed in the Viennese Living Room] and often had an impact on the so-called important things.
A thin, exhausted, yellowish face it was all covered with large wrinkles, which always seemed so clean and diligently washed as fingertips after a bath. The movements of these wrinkles constituted the main game of his physiognomy. I wrinkled my forehead with my wide folds, the eyebrows climbed up, then the eyebrows went down the book, and large wrinkles were formed at the cheek. Deeply delivered, small eyes always looked straight and fun.
"Well, now tell us your feats," he said.
Bolkonsky most modestly, never mentioning about himself, told the case and reception of the military minister.
"ILS M" ONT RECU AVEC MA NOUVELLE, COMME UN CHIEN DANS UN JEU DE QUILLES, [they took me with this news, how they take a dog when she prevents the game in the bow, "he concluded.
Bilibin grinned and dissolved the folds of the skin.
- CEPENDANT, MON CHER, - He said, examining from afar of his nail and picking up the skin over the left eye, - Malgre La Hause Estime Que Je Professse Pour Le Orthodox Russian Hospipe, J "Avoue Que Votre Victoire N" Est Pas Des Plus Victorieuses. [However, my dear, with all my respect for the Orthodox Russian army, I believe that your victory is not from the most brilliant.]
He continued everything in French, uttering only those words that he contemptuously wanted to emphasize.
- How? Do you have a mass of our masters in the unfortunate Morty at one division, and this ship is out of your hands? Where is the victory?
"However, seriously speaking," Prince Andrei answered, "all the same we can say without boasting, that it is a little better ulma ..."
- Why did you not take us one, at least one marshal?
- Because not everything is done, as expected, and not so regularly, as on the parade. We believed how I told you, go to the rear to seven o'clock in the morning, and did not come to five pm.
- Why did you not come to seven o'clock in the morning? You had to come at seven in the morning, "Bilibin said smiling," it was necessary to truth at seven o'clock in the morning.
"Why didn't you inspire Bonaparte with a diplomatic way, what should he better leave the genome?" - The same tone said Prince Andrei.
"I know," interrupted Bilibin, "you think that it is very easy to take Marshals, sitting on the sofa in front of the fireplace." It's true, but still, why didn't you take it? And do not be surprised that not only the Military Minister, but also the August Emperor and the King of Franz will not be very desperate with your victory; Yes, and I, an unfortunate secretary of the Russian Embassy, \u200b\u200bI don't feel any need for the joy to give my Frank Taler and release it with his Liebchen [cute] to Pratra ... True, there is no pratra.
He looked right on Prince Andrew and suddenly lowered the collected skin from his forehead.
"Now my turn ask you" Why ", my dear," said Bolkonsky. - I confess that I do not understand, maybe there are diplomatic subtleties above my weak mind, but I don't understand: Mac loses the whole army, ERCGERCOG Ferdinand and Ertzgercog Karl do not give any signs of life and make mistakes for mistakes finally, one Kutuzov wins the actual victory, destroys the Charme [charm] French, and the military minister is not interested even to know the details.
- It is from this, my dear. Voyez Vous, Mon Cher: [See, my dear:] Hurray! For the king, for Rus, for faith! TUT CA EST BEL ET BON, [All this is beautiful and good,] But what do we, I say - the Austrian yard, is delayed to your victories? Bring us your pretty news about the victory of the erzgertzoga karl or Ferdinanda - Un Archiduc Vaut L "autre, [one erzgertzog is another,] as you know - at least over the mouth of the fire team Bonaparte, this is another thing, we will drive into guns. And then this How purposefully, can only tease us. Ertzgercog Carl does nothing, Ertzgercog Ferdinand is covered with a shame. Vienna you throw, do not protect more, Comme Si Vous No Disiez: [As if you were told:] God with us, and God with us You, with your capital. One general, whom we loved everyone, Schmit: You bring it under the bullet and congratulate us with a victory! ... Agree that Inexiser than the news that you bring, you can not come up with. C "EST Comme un Fait Expres Comme Un Fait Expres. [This is how purposefully, as fornate.] In addition, well, you won exactly a brilliant victory, won even the Ertzgercog Karl, who would it be changed in the general course of affairs? Now it's too late when Vienna is busy with French troops.
- How is busy? Vienna is busy?
- Not only busy, but Bonaparte in Schönbrunnne, and the graph, our cute Graph Vrbna goes to him for orders.
Bolkonsky after fatigue and impressions of travel, reception and especially after lunch felt that he did not understand the entire meaning of the words he heard.
- Now in the morning there was a Count Lichtenfels, "continued Bilibin," and showed me a letter in which the French parade in Vienna is described in detail. Le Prince Murat et Tout Le Tremblement ... [Prince Murat and all that ...] You see that your victory is not very pleased, and that you cannot be accepted as a savior ...
- right, for me anyway, absolutely anyway! - said Prince Andrei, starting to understand that his news about the battle under Krems really had little importance because of such events as the occupation of the capital of Austria. - How are Vienna taken? And the bridge and the famous TETE de Pont, [bridge fortification,] and Prince Auersperg? We had rumors that Prince Auersperg defends Vienna, "he said.
- Prince Auersperg stands on this, on our, side and protects us; I think very poorly protects, but still protects. And Vienna on the side. No, the bridge is not yet taken and, I hope, will not be taken, because it is minimal, and he ordered to blow up. Otherwise, we would have been in the mountains of Bohemia, and you and your army would spend a bad quarter of an hour between two lights.
"But this doesn't mean that the campaign is over," said Prince Andrei.
- And I think it is over. And so think big caps here, but do not dare to say this. There will be something that I spoke at the beginning of the campaign, which is not your Echauffouree de Durenstein, [Dierestein's skirmish,] Do not powder will solve the case at all, and those who invented it, "said Bilibin, repeating one of his Mots [Sloves], on the forehead and suspending. - The only question is that the Berlin Date of Emperor Alexander with the Prussian King will say. If Prussia join the Union, on Forcera La Main A L "Autriche, [will be prompted by Austria,] and there will be a war. If there is no, then it's only that it is to agree, where to compile the initial articles of the new SMRO Formio. [Campo formyo]
- But what kind of extraordinary genius! Said the prince Andrei suddenly, squeezing her little hand and hitting her on the table. - And what is the happiness of this person!
- Buonaparte? [Buonaparte?] "Said Bilibin, firing forehead and giving it to feel that now will be un Mot [Loud]. - BU ONAPARTE? He said, hitting especially on U. "I think, however, that now, when he prescribes the laws of Austria from Schenbrunna, Il Faut Lui Faire Grace de L" U. [We must save it from and.] I strongly make an innovation and call him Bonaparte Tout Court [just Bonaparte].
"No, no joke," said Prince Andrei, "do you really think that Campaign is over?"
- I think I think. Austria remained in the Drains, and she was not used to it. And she will repay. And in the Drakhs, she remained because, firstly, the provinces were ruined (On Dit, Le Orthodox Est Terrible Pour Le Pillage), [they say that the Orthodox is terribly part of the robberies,] the army is broken, the capital is taken, and all this Pour Les Beaux Yeux du [For the sake of beautiful eyes,] Sardinian Majesty. And therefore - Entre No, Mon Cher [Between us, my cute] - I hear a little that they are deceived, I hear us with a little intercourse with France and projects of the world, the secret world, separately prisoner.
- It can not be! Said Prince Andrei, it would be too shy.
- Qui Vivra Verra, [Wait, see,] - said Bilibin, Flashing again the skin as a sign of the end of the conversation.
When Prince Andrei came to the room prepared for him and in pure underwear lay down the down jackets and fragrant gray pillows, "he felt that he was far away from him, far from him. Prussian Union, Treason of Austria, a new celebration of the Bonaparte, Exit and Parade, and the reception of the emperor Franz on tomorrow they took it.
He closed his eyes, but at the same moment, the cannonade was shuffled in her ears, a knock of the crew wheels, and here again descend from the mountain stretched Mushkars, and the French shoot, and he feels like his heart shudders, and he leaves forward next to Schmith, and bullets whistling fun around him, and he experiences the feeling of the rated joy of life, which he did not feel from the childhood.
He woke up ...
"Yes, it was all! ..." he said, happily, childishly smiling himself, and fell asleep strong, young sleep.

The next day he woke up late. Renewing the impressions of the past, he remembered first of all that now it is necessary to submit to the Emperor, the Frenchman, he remembered the military minister, the courtesy of the Austrian Flegene Adjutant, Bilibin and the conversation of yesterday evening. Dressed in a full front-end shape, which he had not worn for a long time, for a trip to the palace, he, fresh, lively and beautiful, with his hand tied, entered the Cabinet of Bilibin. There were four Mr. Diplomatic Corps in the office. With Prince, Ippolite Kuragin, who was secretary of the embassy, \u200b\u200bBolkonsky was familiar; With others, he introduced Bilibin.
The gentlemen who were from Bilibin, secular, young, rich and fun people were in Vienna and here a separate circle, which Bilibin, the former chapter of this mug, called our, Les NFTres. In the circle of this, which consisted almost exclusively from diplomats, apparently, were their own who had nothing to do with war and politics, the interests of the highest light, relations to some women and the stationery of the service. These gentlemen, who will seem willingly, as their own (the honor they did a little), took into their circle of Prince Andrew. From courtesy, and as an item for joining the conversation, he made a few questions about the army and battle, and the conversation again crumbled on inconsistent, fun jokes and peres.
"But especially good," said one comrade of a diplomat, saying that Chancellor told him that his appointment to London was an increase, and so that he looked at it. Do you see his figure at the same time? ...
- But what is all worse, gentlemen, I give you Kuragin: a person in misfortunes, and this Don Juan enjoys this, this terrible person!
Prince Ippolit lay in the Voltaire chair, putting his legs through the handle. He laughed.
"Parlez Moi de Ca, [Well, well, well," he said.
- Oh, Don Juan! Oh, snake! - Voices heard.
"You don't know, Bolkonsky," said Bilibin to Prince Andrei, - that all the horrors of the French army (I almost said - the Russian army) is nothing in comparison with what has done this person between women.
- La Femme Est La Compagne de L "Homme, [Woman - a man's girlfriend," said Prince Ippolit and began to look at Lorrow on his raised legs.
Bilibin and our breakdown, looking into the eyes of the Ippolit. Prince Andrei saw that this Ippolite, whom he (should be confessed) almost jealous to his wife, was a joke in this society.
"No, I have to treat you to Kuragin," said Bilibin quiet Bolkonsky. - He is adorable when he talks about politics, it is necessary to see this importance.
He hooked up to Ippolit and, having gathered his folds on his forehead, had a talk about politics with him. Prince Andrei and others have profasted both.
- Le Cabinet De Berlin Ne Peut Pas Exprimer Un Sentiment D "Alliance, - Beginning Hippolyte, Significantly Looking at all, - Sans Exprimer ... Comme Dans SA Derieniere Note ... Vous Comprenez ... Vous Comprenez ... et PUIS Si Sa Majeste L" Empereur Ne Deroge Pas Au Principe de Notre Alliance ... [Berlin Cabinet can not express his opinion about the Union, not expressing ... as in his last note ... you understand ... You understand ... However, if His Majesty Emperor does not change the essence of our Union ...]
- Attendez, Je N "Ai Pas Fini ... - He said to Andrei, grabbing his hand. - Je Suppose Que L" Intervention Sera Plus Forte Que La Non Intervention. ET ... - He paused. - On Ne Pourra Pas Imputer a La Fin de Non Recevoir Notre Depeche du 28 Novembre. Voila Comment Tout Cela Finira. [Wait, I did not finish. I think that intervention will be stronger than non-interference and ... it is impossible to consider the case by the end of the non-acceptance of our deppendacy of November 28. Than all this will end.]
And he let the hand of Bologkoe, showing that now he completely finished.
- Demosthenes, Je Te Reconnais Au Callloou Que Tu As Cache Dans Ta Bouche D "Or! [Demosphen, I recognize you on a pebble, which you hide in your golden lips!] - said Bilibin, whose hair cap was moved on his head from pleasure .
Everyone laughed. Ippolit laughed louder than everyone. He, apparently, suffered, chuckled, but could not resist wild laugh, stretching him always a fixed face.
"Well, that's the gentlemen," said Bilibin, "Bolkonsky is my guest in the house and here in Brynne, and I want to treat him how much I can, all the joy of the world's life. If we were in Brynne, it would be easy; But here, Dans Ce Vilain Trou Morave [in this bad Moravian hole], it is harder, and I ask you to help you. Il Faut Lui Faire Les Honneurs de Brunn. [It is necessary for him to show Brynn.] You take on the theater, I am a society, you, Ippolit, of course, are women.
- You need to show Amelie, Charm! Said one of our, kissing fingertips.
"In general, this bloodthirsty soldier," said Bilibin, "you have to turn to more person-loving views."
"I apologize to your hospitality, gentlemen, and now I have to go, looking at the clock, Trankalsky said.
- Where to?
- To the emperor.
- ABOUT! about! about!
- Well, goodbye, Bolkonsky! Goodbye, prince; Come to dinner before, - the vote. - We take for you.
"Try to praise the order as possible to deliver the province and routes as possible, when you speak with the emperor," said Bilibin, accompanied before the front Bolkonsky.
"And wish to praise, but I can't know how much I know," the Bolkonsky answered smiling.
- Well, in general you say as much as possible. His passion - audience; And he himself does not like and does not know how to see.

At the exit, the emperor Franz just looked at the face of Prince Andrew, who was standing in the appointed place between the Austrian officers, and nodded him his long head. But after the release of yesterday, the exjutant with courtesy handed over to the Bolkonsky wishes of the emperor to give him an audience.
Emperor Franz accepted him, standing in the middle of the room. Before starting the conversation, Prince Andrew was struck by the fact that the emperor seemed to be mixed, not knowing what to say, and blushed.

Eduard Mana. "Olympia".

1863. Canvas, oil. 130.5x190 cm.
OBCE Museum. Paris.

Only passes Olympia from the dream to awaken,
Black Bulletin with Spring Spring in front of her;
Then the messenger slave that can't forget
Love night drawing blossoms days.

Zakari Astryuk

For us, Olympia is the same classic as the canvas of the old masters, so the modern artist's lover is not easy to understand why around this picture, first shown by the public at the exhibition of the Paris Salon of 1865, the scandal broke out, which Paris had not yet seen. It came to the point that the mana had to make armed guard, and then alleged him under the ceiling, so that the canes and umbrellas of indignantly visitors could reach the canvas and damage it.

The newspapers in one voice accused the artist of immorality, vulgarity and cynicism, but especially got from critics the very picture and the young woman shown on it: "This brunette disgustingly ugly, her face is silly, skin, like a corpse," "This is a female Gorilla, made From rubber and depicted completely naked, / ... /, young women in anticipation of the child, as well as the girl I advise you to avoid similar impressions. " "Batinol Strace" (Manet's workshop was in Batinol's quarter), "Venus with a cat", "Signboard for Balagan, in which a bearded woman", "Yolopuzaya Odalisk"... while some critics were sophisticated in wit, others wrote that"The art that fell so low, not worthy of even condemnation."

Eduard Mana. Breakfast on the grass. 1863

No attacks on impressionists (with whom Mane was friendly, but did not identify himself) are incomparable with those who fell to the share of Olympia. There is nothing strange in this: the impressionists in search of new plots and the new expressiveness moved away from classic canons, Mane passed a different line - He led the lively dialogue with the classics.

The scandal around Olympia was the first in the biography of Mana. In the same 1863, as "Olympia", the artist wrote another significant picture, "Breakfast on the grass." Inspired by the Louvre cannut, the "rural concert" by Georgeon (1510), mana in his own way rethinking the plot. Like the Master of the Renaissance, ONPED student on the village of Nature nude ladies and dressedmen. But if the musicians of Georgeon are closed in Renaissance costumes, Heroes Mane are dressed in the last Paris fashion.

Georgeon. Rural concert. 1510

Location and posture of characters Manneporated with engravingartist XVI century Markantonio Raimondi "Court of Paris", made according to the drawing of Raphael. Painting mana (it was originally called "bathing") was exhibited in the famous "Salon of rejected" 1863, where work was shown, rejected by the official jury, and extremely shocked the public.

Nude women were taken to portray only in the pictures on mythological and historical plots, so the canvas mana, on which the action was transferred to modernity, found almost unnemptographed. It is not surprising that after this, the artist decided to put "Olympia" at the following sense in 1865: After all, in this picture he "bit" to another masterpiece of classical art -Cartina from the Louvre "Venus Urbinskaya" (1538), written by Titian. Youth mana, like other artists of his circle, many copied the classic Louvre canvases, including (1856) and the picture of Titian. Working subsequently over the Olympia, OMIS amazing freedom and courage to the new meaning of a well-known composition for him.

Marcantonio Raymondi.
Court of Paris. First four 16th century

Compare pictures. The Titian canvas, which, presumably, should have been making a large chest for a wedding dowry, chants marriage joy and virtue. On both paintings, the nude woman lies, leaning with his right hand on the pillows, and the left covering the launo.

Venus coquetty bowed the head of the side, Olympia looks straight to the viewer, and this close view reminds us of another picture, "Nude Mahe" Francisco Goya (1800). The background of both paintings is divided into two parts of a rigriferous, descending to the lane of a woman.

Titian. Venus Urbinskaya.1538

On the left - the constant dark drapery, on the right - bright stains: Titsian - two maids engaged in a chest with outfits, mana - black manabase bouquet. This luxury bouquet (most likely, the backlight) replaced in the picture of Mane Rosa (the symbol of the Goddess of Love) in the right hand of Tizian Venus. In the legs, Venus curled a white dog, a symbol of marital loyalty and family comfort, the black cat flickers with green eyes, "who came" into the picture from the poems of Charles Bodler, a friend of Mana. Bajler saw a mysterious creature in a cat, adopting the features of his owner or hostess, and wrote about cats and cats philosophical poems:

"Home Spirit Il Deity,
All judges this idol prophetic,
And it seems that our things -
His farm ".

Pearl earrings in the ears andmassive bracelet on the right hand of OlympiaManne borrowed from the picture of Titian, while he supplemented his cloth role-based details. Olympia lies on an elegant shawl with tassels, on her legs - heroty pantoliths, in her hair - an exotic flower, on the neck - a velvet of a spicy pearl, which only emphasizes the causing nudity of a woman. The audience of the 1860s unmistakably determined according to these attributes that Olympia - the surrender that the beauty, adopted by Venus Urbinsky's posture, nothing more than succeeding Paris Curtains.

Francisco Goya. Nude maha. OK. 1800

The name of the picture aggravated her "indecent." Recall that one of the heroines of the popular novel (1848) and the Duma of the same name (1852) Alexandra Duma Jr. "Lady with Camellias" was called Olympia. In Paris, the mid-19 centuries of the name was a numerous name for the "ladies". It is not known exactly to what extent the name of the picture is inspired by the works of Dumas and to whom - the artist himself or someone from his friends - belonged to the idea to rename "Venus" in Olympia, but this name has taken root. A year after creating a picture of the poet, Zakari Astryuk felt Olympia Vietem "Daughter of Island", the lines from which, who became an epigraph to this article, were placed in the memorable exhibition catalog.

Mana "insulted" not only morality, but also aestheticism of Parisian.Today's viewer is a slender "stylish" Olympia (for the painting, the favorite model of Mane's quiz Mineran) seems no less productive, the tricky Tizian Venus with its rounded form. But the contemporaries of Mana saw in Olympia is overlooking, even angry person with non-surmocratic features of the face. In our opinion, her body on the background of white-blue pillows radiates a living warm, but if we compare Olympia with an unnaturally pink Tomny Venus, written by the successful academician Alexander Cabanem in the same 1863, then it is better to understand the reproach of the public: the natural color of the Olympia skin seems Yellow, and the body is flat.

Alexander Cabannel. Birth of Venus.1865

Mana, which before other French artists carried away by Japanese art, refused to carefully transmit volumes, oversight of color nuances. Inexpressiveness of the volume in the picture of Mana is compensated, as in Japanese engravings, dominance, contour, but contemporaries of the artist, the picture of the seemerly monitored, carelessly, even ineptly written. Already a couple of years after the scandal with Olympia, Parisians, introduced at the World Exhibition (1867), Japan, were enthusiastic, but in the 1865th, many, including the artist's colleagues, did not accept the innovations of Mana. So Gustave Kourbe compared Olympia with a "lady peak from a deck of cards, which just left the bath." "The tone of the body is dirty, and no modeling," the poet of the poet theophile guide.

Mane decides in this picture the most complex colorful tasks. One of them is the design of the shades of the black color, which mana, in contrast to the impressionists, often and willingly used, following the example of his beloved artist - Diego Velasquez. The bouquet in the hands of the black women, disintegrating on individual strokes, gave art historians a reason to say that Manne produced the "Revolution of the Colorful Spot", approved the value of painting as such, regardless of the plot, and those opened a new way to artists of the next decades.

Eduard Mana. Portrait of Emil Zol. 1868
In the upper right corner - Olympia production and Japanese engravings.

Georgeon, Titian, Raphael, Goya, Velasquez, aesthetics of Japanese engraving and ... Parisians1860s. In his works, Mane accurately followed the principle that he himself also formulated: "Our debt is to extract from our era, everything that she can offer us, not forgetting that it was open and found to us." On such a vision of modernity through the prism of the past inspired by Charles Baudelaire, who wasnot only the famous poet, but also an influential artistic criticism. This master, according to Bodler, must "feel the poetic and historical meaning of modernity and be able to see the eternal in the ordinary."

Do not remove the classics and do not relieve Mane on her, and raise modernity and a contemporary to high samples, show that the Parisian Frances Their Pleasers - the same ingenious children of nature, as Jorgone's characters, and the Parisian priestess of love, proud of His beauty and power over the hearts, As beautiful as Venus Urbinskaya.« We are not accustomed to seeing such a simple and sincere interpretation of reality, "wrote Emil Zola, one of the few defenders of the author" Olympia ".

Olympia district of the OBSE Museum.

In the 1870s, a long-awaited success came to Mana: those known by the artist of Paul Durane-Ruel bought about thirty works of the artist. But the "Olympia" mana considered his best cloth and did not want to sell. After the death of Mane (1883), the picture was put up for auction, but it was not found by the buyer. In 1889, the picture entered the desposition"One hundred years of french art", U. built at the World Exhibition to commemorate the century of the Great French Revolution. The image of the Paris Venus conquered the heart of a certain American patron, and he wished to buy a picture. But the friends could not allow masterpiece manner to leave France. At the initiative of Claude Monet, they gathered 20 thousand francs on a public subscription, bought out "Olympia" from the widow of the artist, Ipried it as a gift to the state. The picture was included in the assembly of the Painting Palace of the Palace, and in 1907, the efforts of the then Chairman of the Council of Ministers of Francezhorge Clemanso, she was transferred to Vluwr.

The forty years of "Olympia" died under one roof with his prototype - "Venus Urbinskaya". In 1947, the picture moved to the Impressionism Museum, and in 1986 Olimpia, the fate of which began so unfortunately, became pride and decoration of the new Paris ORSE Museum.