Two undraped ladies; each with troubles enough of their own. Not only look-alikes but contemporaries, each of them took a prominent part in a minor revolution. Adah Menken was a kind of nineteenth-century Marilyn Monroe, and like her a peripheral figure in sporting and literary circles. She brought nudity, or at least a reasonably facsimile of it, to the Victorian stage.
Olympia was the painting that helped the young Edouard Manet stir the Paris art world of the mid-nineteenth-century. It was Manet who stood at the center of a protest in 1863 against the Paris Salon jury. This protest marked the beginning of the modern artist as a person whose creative independence was subject to no internal verification beyond their own conscience.
Francis Bacon ( 1597): … Beauty is as summer fruits, which are easy to corrupt, and cannot last; and for the most part it makes a dissolute youth, and an age a little out of countenance; but yet certainly again, if it light well, it maketh virtue shine, and vices blush….“And yet Boldnesse is a childe of ignorance and basenesse, farre inferiour to other parts, and binde hand and foot those, that are either shallow in judgment or weake in courage, which are the greatest part: yea prevaileth with wise men at weake times.” … “that Boldnesse is ever blinde; for it seeth not dangers and inconveniences.”