difference between grande odalisque and olympia paintings
In La Grande Odalisque, the concubine is lying on a divan in a suggestive pose with her face turned towards us. Her arm guides our eye to the luxurious silk drapes, while her right foot and left elbow highlight the sumptuous velvet cushions. The cold aquamarine of the silk drape with its decoration of red flowers intensifies the warmth of the her flesh tones. (Note: For more about the pigments used by Ingres, see: 19th-Century Colour Palette.)
Explanation of Other French Paintings
Grande Odalisque, also known as Une Odalisque or La Grande Odalisque, is an oil painting of 1814 by Jean Auguste Dominique Ingres depicting an odalisque, or concubine. Ingres’ contemporaries considered the work to signify Ingres’ break from Neoclassicism, indicating a shift toward exotic Romanticism.
This eclectic mix of styles, combining classical form with Romantic themes, prompted harsh criticism when it was first shown in 1814. Critics viewed Ingres as a rebel against the contemporary style of form and content. When the painting was first shown in the Salon of 1819, one critic remarked that the work had “neither bones nor muscle, neither blood, nor life, nor relief, indeed nothing that constitutes imitation”.  This echoed the general view that Ingres had disregarded anatomical realism.  Ingres instead favored long lines to convey curvature and sensuality, as well as abundant, even light to tone down the volume.  Ingres continued to be criticized for his work until the mid-1820s. 
The mountains of endless boundaries transcended the earth to the heavens as the water and sun created its tangibility. Dispositions of light allowed an elaborate portrayal of the perfect environment. Albert Bierstadt, a German-born, American artist, had the ability to convey such beauties of .
Ingres’ “La Grande Odalisque” and Manet’s “Olympia” – a Comparison. (1996, December 01). In WriteWork.com. Retrieved 12:51, May 13, 2020, from https://www.writework.com/essay/ingres-grande-odalisque-and-manet-s-olympia-comparison
Ingres uses muted shades of green jewel tones to create an elegant effect. Manet also incorporates the color green, but he emphasizes the stark white which allows the female to stand out. The white also gives a harshness to the painting. It is as if someone turned on a bright overhead light in the middle of a sensual moment. The model in Ingres’ painting tends to blend with her surroundings.
Seeing such a drastic change in the world in which he lived caused Ingres to pay very close attention to the details of the past. He wanted to preserve it perfectly and he also looked to the techniques of the masters before him. Manet was not so much concerned for the past, but his eyes were on the present. His subjects represent the French societal and cultural setting of the time period in which he lived.
Another notable difference between “Olympia” and the other nudes is her gaze. She looks out at the viewer, just like “La Grande Odalisque” and “The Nude Maja,” but where these nudes had very seductive, enjoyable gazes, Olympia’s stare is very honest and frank. She looks out at the viewer with little interest, and she has no modesty whatsoever. This small change in gaze may seem insignificant, but upon examining the various nudes, one can see that it makes a dramatic difference. Manet’s nude, with her uncaring look, has a modernized feeling to it; it clearly demonstrates how Manet got the title, “The Father of Modern Art.”
Later on, in 1796, Goya started his variation of the reclining nude, “The Nude Maja”(see fig. 2). This painting was ahead of its time, in the respect that the Spanish society was not prepared to see this “obscene” image. She was thought about profane since of her provocative position of frontal nudity, and since this is the very first time a naked has been painted in awareness of the painter; her gaze is focused outward.