The Deceptive Links bridging
Modern and Religious Art

As I Stare At The Variant Shades Of Dull And Bright Interspersed Colours Of Le Déjeuner Sur L’herbe (1862-63), A Modern Painting By Éduard Manet, A Strange Feeling Compels Me To Search For Another, Starkly Different Painting: Pardo Venus (1551), A Mythological And Religious Painting By Titian.

While At The First Glance, The Wildly Varying Eras Of The Two Paintings Betray No Shred Of Similarity, But Upon A Different Yet Closer Observation, I Conclude That They Show More Or Less The Same Scene: A Bacchanalian Natural Depiction.

I Am Reminded Of The Workings Of A Collective Consciousness That All Living Creatures Share, And By Gazing At These Paintings, This Becomes All The More Apparent. Painting Is A Way Of Expressing The Abstractness Of Our Psyche; While The Painting By Titian Boasts Bright Colours And A Heavily Detailed Scene, The Manet Painting On The Other Hand Exhibits A More Fluid And Flexible Approach To The Scene. The Nudity Depicted Is More Of A Glorifying And Graceful Nature, Not Obscene Or Vulgar, And The Two Scenes Share This View To A Great Extent.

What Interests The Observer Is The Detailing In The Older Painting, And The Lack Thereof In The Relatively New Painting. The Connection Of The Psyche To The External World Became So Distorted With The Passage Of Time That It Began To Be Expressed In Such An Increasingly Abstract Manner. That Is Not To Say That This Abstractness Is Not Beautiful; On The Contrary, It Might Very Well Be Much More Truthful Than Other Forms Of Art In Existence Before The Modernistic Revolution.
The Two Paintings Share This Underlying And Oft Invisible Connection, But There Are Much More Works Of Art That Mirror Or Reflect Each Other In Manners Fantastical And Obscure. One Can Then Only Observe And Marvel At This Collective Consciousness That Binds Us All Even Through Time.

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