Furthermore, the dynamic of increasing and decreasing abstract is also interesting to notice. Thus, instead of referring to the real world as Manet did, Gauguin seems to provoke a more symbolic realm. As Kaitlin has pointed out, the calmness and the primitivism lead to a return to Garden of Eden and to the most basic life of beauty. However, the landscape of Day of the God is more mysterious. The background of The Luncheon on the Grass is modern France, most possibly a park such as Bois de Boulogne whereas Gauguin’s depiction is imaginary rather than realistic depiction of the South Seas. Treatment of Space and Landscape, Background and Sense of BalanceĪs mentioned above, the treatment of space and landscape also accentuated the differences of these two paintings, such as the real versus illusionary landscape. This shows how Gauguin represents nature in his own way and presents his self-consciousness in the painting. Different from a naturalistic painting, the color established in the Day of the God contains brilliantly flat shapes in the foregrounded sea. What is more of a key point is Gauguin’s use of vibrant and illogical color as an indication of artist’s Primitive style. ![]() However, this emphasis on accurate depiction of light has less effect on Day of the God thirty years later. This form of contrast and specific notice of the rays of light demonstrates a note of Impressionism ahead of Manet’s time. Both the women and the objects stand out from the rest because they have a comparatively warmer color palette than the dark and cold color of the surrounding scene and the black suits of the men. Also, bathed in light, is the still life in the bottom right, and the clothing she discarded. The nude woman has a high level of light intensity compared with the two man behind her. First, there is strong contrast of light and dark in The Luncheon on the Grass. The use of light and color in The Luncheon on the Grass and Day of the God is also distinctive. In contrast, we feel more comfortable staring at the nude in Day of the God since it is desexualized by religion, having more of a sense of the primitive rather than the realistic. The woman in Manet’s painting is looking and confronting us directly, giving us a sense of sensuality and sexuality but yet prohibiting us to gaze on her. Moreover, while both artists employed nude women with no embarrassment of nudity in the painting, their effects have a vast difference. The painting reflects his memory of a Tahitian beach scene including rich references to Polynesian religion, even though both artists finished their paintings in France. However, it is definite that Day of the God is merely from Gauguin’s own imagination. The use of the naked woman and her pose in The Luncheon on the Grass showed that Manet studied closely and may have borrowed some idea from Titian’s The Pastoral Concert, as well as Raphael’s numerous sketches depicting this modern scene in Paris. ![]() The characters, including the woman on the right who is dancing upaupa,the female on the pink sand, and the ambiguously gendered figures on the side, are all significantly smaller compared with the figures of Manet.Īlthough both artists depict female nudity, they produce different reactions. For example, the three young women may represent three Ages of Man - brith, life and death respectively. Whereas for Gauguin’s Day of the God, excluding the main subject, who is the idol of the goodness Hina in the upper center of the painting, there are not any recognizable characters involved all of the characters are highly symbolic. Similar to other Realist paintings, it has no religious figure and contains no religious purpose. The dressed men, his brother and his brother in law - Eugene Manet and Ferdinand Leenhoff, are also showed as identifiable individuals. This nude woman, seemly a real life person with identified facial characteristics rather a generalized figure (an important characteristic in Realism paintings), is a combination of both the artist’s wife, Suzanne Leenhoff, and one of his other female models, Victorine Meurent. The painting’s subject is considered extremely radical and somehow provoking due to the female nude in the center of the painting. The Luncheon on the Grass first showed at Napoleon III’s Salon des Refuses (Salon of Refused or Rejected Works) in 1863 because the painting was rejected by the traditional salon of Paris. ![]() Right: Day of the God Subject and Circumstances of their being createdīoth Édouard Manet’s The Luncheon on the Grass and Gauguin’s Day of the God were considered controversial and crude when they were first displayed because of their abnormal subject matter.
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