Comparing Manet's Olympia And The Defiant Heroine

In Sharon Flescher's More on a Name: Manet's "Olympia" and the Defiant Heroine in Mid-Nineteenth-Century France, Flescher attempts to establish a context for understanding Manet's choice of title for his painting. The author uses many examples of possible influences that support the meaning of Olympia's name. Although the sources that are used by the author provide great insight there is no way to guarantee that both these sources have direct influence in Manet's decision. Despite the weak correlation Flescher was able to make the argument very compelling and persuasive. There was evidence that was shown through her sources that simply could not be ignored. Flescher states that she is aware that the correlation she made between the various
All of these women have similar features and qualities. The reason that Flescher focused so much on Manet's nude's title is because there was a lot of controversy that surrounded his painting. Critics were upset at the choice of title, stating that she was a courtesan. According to Flescher this accusation was not entirely false. Manet had meant to paint Olympia as a sort of courtesan, but she was different than the ordinary courtesan. According to Flescher "'Olympia' connotes a special type of courtesan¬—strong-willed, powerful, defiant—perhaps, by extension, even woman herself"(Flescher 5). The author of this article states that there was also a surrounding influence in France that may have led to Manet's painting. During the time that the painting was painted there was visible prostitution almost daily in the French Press. With this type of influence surrounding Manet as he painted, it was obvious as to how his nude got its inspiration. Flescher is trying to reason Manet's painting and the reasoning behind its name so seeing as there was so much influence it is clear that Manet meant for Olympia to seem like a prostitute, but her name says
This could be seen through various examples earlier. Flescher shows us another reason why Manet had name his nude Olympia. When Olympia was finally released the critics were not too pleased. This caused a line to be drawn one between Manet and the critics. This was Manet's form of defiance. He refused to believe what the critics were saying about his piece of art. He became defensive and refused to give in to their ways of painting. The name "Olympia" is playing another role in defiance, so at this point it is difficult to not believe what Flescher is saying about Olympia's name. This article holds more than just facts supporting Manet's choice in title for his nude. This Article states reasoning to many events that followed this time period. She explains why the critics took the painting the way that they did and so much more. This article is very reliable. Every claim that Flescher makes is supported by clear evidence, and then when it is a little shaky on the evidence she gives there is something else there to back it up. Flescher shows that Olympia's name shows defiance, but not only in the painting, the opera, or the