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Art Comparison

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Rococo vs. Neoclassical: Resting Girl (Marie-Louise O’Murphy) and Grande Odalisque
By Rachel Mizic
FAS_202
08-10-2014

(Fig. 1a) Resting Girl (Marie-Louis O’Murphy) by François Boucher (1751). Oil on canvas,
59cm x 73 cm, Wallraf-Richartz Museum, Cologne
(image: pictify.com)

(Fig. 1b) Close up of Resting Girl (Marie-Louise O’Murphy) by François Boucher (1751)
(image: wallraf.meseum)

(Fig. 2a) Grande Odalisque by Jean Auguste Dominique Ingres (1814). Oil on canvas,
91cm x 162cm, Musée du Louvre, Paris
(image: studyblue.com)

(Fig. 2b) Close up of Grande Odalisque by Jean Auguste Dominique Ingres (1814)
(image: artble.com)

(Fig. 2c) Close up of Grande Odalisque by Jean Auguste Dominique Ingres (1814)
(image: artble.com)

The Age of Enlightenment brought two very different styles to the world of art and, in particular, to painting: the whimsical, indulgent Rococo and the more serious Neoclassical. In this essay I will be comparing two paintings; one in the style of Rococo, the other Neoclassical. The first, Resting Girl by François Boucher (1751-1752) is a Rococo-era work of oil on canvas, 59cm x73cm in size. The second, Grande Odalisque, also oil on canvas, 91cm x 162cm, is considered to be a Neoclassical work, though created during the overlapping period during the culmination of Neoclassicism and the beginning of Romanticism. This period of overlap allowed Ingres to employ Romantic themes while staying true to the form of Neoclassicism. The agenda of this comparison is to describe the differences between the French Rococo and Neoclassical Periods, and to understand the stylistic differences in the way Boucher and Ingres approach similar subject matter.
Resting Girl (Marie-Louise O’Murphy), painted during the latter part of the Rococo period, depicts young Marie-Louise O’Murphy de Boisfaily leisurely draped on a chaise lounge in an overtly sexual pose. At the time of the painting Marie-Louise was just 14 years old, which has lead to speculation as to Boucher’s reason for choosing to paint his subject in a rear-facing pose. Frontal nudity, because of Marie Louise’s age, may have caused this painting to cross the line between erotic and pornographic. Resting Girl strongly exemplifies the distinct ideals of Rococo. Decadence, eroticism, graceful elegance, opulent decoration, and light, whimsical softness are clear elements of Rococo displayed in this painting. Resting Girl also highlights another very central ideal of its time- the fragile, beautiful woman as an object of pleasure for her master, the king. Round and lithe, buttocks slightly raised, legs spread open, inviting her master to take her body for his pleasure; her gaze blank, yet almost playful and amused. Resting Girl also portrays the “beauty over intellect” ideal of this era, inviting the viewer to use his senses and feelings to process what he is seeing, rather than intellectualizing and analyzing the piece. Along with its risqué content, Resting Girl’s background has garnered much speculation as to who actually commissioned the painting, and why. It is surmised by some that Marie-Louise herself commissioned Boucher to paint her in an erotic, inviting pose as an advertisement, an offering of herself and her services as a possible concubine for King Louis XV of France. Others speculate that at the time of this painting, Marie-Louise was already one of Louis XV’s many concubines, and the king may have commissioned the painting himself.
Grande Odalisque, oil on canvas, displays a nude, reclining odalisque (concubine), back facing the viewer. Napoleon’s sister, Queen Caroline Murat of Naples, commissioned Ingres to paint Grande Odalisque during the period of overlap between the Neoclassical Movement and the Romantic Period. In contrast to the past Rococo, Neoclassicism shunned the fluffy lightness and ornamentation, opting instead for more simple, strong forms, sharp color contrast, and Roman antiquity. Grande Odalisque is quite indicative of the classic traits of Neoclassicism, while stepping into the style of Romantic eroticism. The work that his contemporaries sited as his unofficial break from Neoclassicism and shift towards exotic Romanticism, Ingres’ Grande Odalisque drew many harsh reviews from critics. During the initial viewing of Grande Odalisque at the Salon of 1819 one critic remarked, “neither bones nor muscle, neither blood, nor life, nor relief, indeed nothing that constitutes imitation" (Benjamin, December 2000). This echoed the general view that Ingres had disregarded anatomical realism (“Une Odalisque”, 2008). Also criticized were the anatomical inaccuracies Ingres employed in his fictional odalisque. Her spine was noticeably elongated, causing the odalisque’s back to take on a surreal, reptilian quality. The approximately 5 added vertebrae caused an elongation of the lumbar region as well as the lower back and pelvis. Once thought to have been mistakes by Ingres, more recent study has found that these anatomical “errors” were actually deliberate. The elongation and unnatural curvature of spine and pelvis, disproportionately small head, and uneven arms are thought to be symbolic of the odalisque’s sole purpose- to satisfy the carnal needs of her master. Though her most sensuous features have been exaggerated and elongated, the odalisque’s head is quite small, adding to Ingres’ intended message that the odalisque’s importance is dependent only upon her sexual attributes. However, there is more to this painting than one might initially observe. The odalisque’s gaze has been said to “[reflect] a complex psychological make-up”, adding to the painting’s woman-as-possession theme. Her blank gaze seems to “[betray] no feeling”, allowing the viewer a glimpse into the mental anguish of an objectified odalisque. In addition, the distance between her and gaze and pelvic region may be a representation of the depth of thought and complex emotions of a woman’s thoughts and feelings (Maigne, Chatellier, Norlöff, July 2004).
It is obvious, at first glance, to see the similarities between Resting Girl and Grande Odalisque. Both contain a single nude female subject, lying in a rear-facing position, posed in a way that seems to offer her body as an object for sexual pleasure. Ingres and Boucher were similarly met with harsh criticism for their respective paintings, though for different reasons. Marie-Louise and the unnamed subject share personal similarities, as well. The subject of Grande Odalisque was, indeed, an odalisque, as was Marie-Louise. The subjects in each painting also reveal something in their gazes. In Resting Girl, Marie-Louise stares wistfully at something (or someone) out of our view. Her expression is not one of displeasure or despair, but almost a whimsical playfulness. The subject of Grande Odalisque offers a more in depth view into the thoughts of the subject, as well. Though, the odalisque reveals a something more somber and serious- not unlike the tone of the entire painting. In addition to aesthetic similarities, Resting Girl and Grande Odalisque are both French in origin, from periods born of the French Revolution and the Age of Enlightenment.
Despite being two paintings that may initially seem to share more similarities than differences, their variances are many. The periods from which each painting was born were very different and, stylistically, these differences can be seen when comparatively studying the two. Resting Girl is a very clear example of Rococo art. Rococo’s most defining characteristics were its lightness, whimsy, and focus on elaborate and ornate themes. Rococo works, such as Resting Girl, showcase round, soft lines and rich, opulent fabrics draped about the subject and in the background, and a warm, light color pallet that, combined with the lack of strong, definite outlines allows objects to almost blend together. In comparison Neoclassical paintings like Grande Odalisque are full of bold, rich, high-contrast colors, strong outlines, and cool simplicity. This is not surprising, as Neoclassicism began in opposition to the overtly ornate manner of the Baroque and Rococo Periods. Rococo and Neoclassicism were both inspired by nobility. However, Rococo chose to portray the lavishness and bourgeoisie of the aristocracy, while Neoclassicism drew its influence from the simplicity of Greek and Roman nobility.
The tone of Grande Odalisque is clearly one of sensual eroticism. However, unlike the subject’s pose of sexual readiness in Resting Girl, the odalisque in Ingres’ painting offers herself in a much more subtle, almost reserved manner. She sits with her legs closed and crossed, her buttocks down and slightly covered, and she is just barely exposing one breast. Resting Girl’s subject, however, takes a pose that is anything but subtle. The position of Marie-Louise’s buttocks and legs leave no question as to her intentions. Resting Girl does not portray sensuality as much as open, over-the-top sexuality.
Contemporaries of each artist criticized the subject matter of each of these paintings, though for different reasons. Boucher’s Resting Girl drew criticism because of his subject’s age. Marie-Louise O’Murphy was only 14 years old, and many felt she was too young to have been posed in such a pornographic manner. Grande Odalisque met much criticism from the moment of its first public reveal. Critics and contemporaries alike found his odalisque to be grotesquely surreal, some calling her Ingres’ “creature”. Her distorted anatomy was initially deemed to have been error on Ingres’ part and she was rumored to have 3 extra vertebrae. Later, it was found that these inaccuracies in the subject’s physical proportions were purposeful; meant to be metaphoric. And, it critics realized that it was more likely the odalisque had been given as many as 5 additional vertebrae.
In closing, Resting Girl and Grande Odalisque were both very controversial paintings in their time, and some find them to be controversial even today. While their similarities are obvious and many, they are two very different works of art. Coincidentally, Resting Girl’s theme was very similar to the Rococo style. Boucher painted his subject, Marie-Louise, leisurely draped amongst richly textured fabrics, a willing sexual object ready to be taken and used to satisfy the needs of King Louis XV. This message Boucher was sending to his viewers is in line with the light, whimsical, opulence of Rococo. Additionally, the extremely erotic pose of such a young subject evoked intense emotions from viewer, fitting for art of this era. Ingres’ also employed a very fitting theme with Grande Odalisque. The serious, darker tone of Grande Odalisque’s subject matter was in line with the general style of simplicity and contrast of Neoclassicism. One can clearly see the elements of each painting’s period, while the paintings still carry an obvious similarity.

Citations: * Benjamin, Roger (December 2000). "Ingres Chez Les Fauves". Art History 23 (5): 754–755. * “Une Odalisque”. Louvre Museum. 09-01-2008 * La Grande Odalisque (2014). Retrieved from: http://www.artble.com/artists/jean_auguste_dominique_ingres/paintings/la_grande_odalisque * Grimme, Karin H. Jean Auguste Dominique Ingres: Taschen Basic Art. New York: TASCHEN,December, 2006 * mydailyartdisplay.wordpress.com/.../reclining-girl-by-francois-boucher/ * Analysis of François Boucher’s Girl Reclining- 1751 (February, 2014). Retrieved from: http://weblogs.senecacollege.ca/mmarino2/2014/01/31/analysis-of-francois-bouchers-girl-reclining-1751/

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