Edouard Manet Painting – What Do You See? A Bar at the Folies Bergere is to be found at the Courthold. Manet's Bar at the Folies- Bergere (Getty Center Exhibitions)Browse reactions of other viewers below. The opinions presented here may have been edited and do not reflect the opinions of the Getty. Posted on 1. 0/2/0. Phil, Columbus. I visited the Courtauld collection in 1. He said people argue and comment about the mirror all the time. He said they have x- rayed the painting and found that the man's reflection was originally right next to the woman, then painted out and moved to the right, then painted out again and moved to where the man is now. So it is a distorted reflection. Of course the man would look odd in its original place. Manet sure captures interesting psychological moments, and this day dreaming worker seems very modern. Posted on 9/3/0. 7 by Leah Wendt, Kalamazoo. I didn't understand the brilliance of painting images in a mirror, until my son was given this painting for a final exam in an upper level optics course at Hope College. They had to analyze the mirror images based on a difficult mathematical formula. What a paradox! The painted image of the barmaid reflects a world of supreme order and design, yet her personal life reflects disorder and chaos! Posted on 8/2. 9/0. RS April, New York City. In this portrait of an unnamed barmaid, we see a well- dressed young woman with an attractive demeanor but whose facial expression is distracted, pensive, perhaps even reflective. Does the mirror contain the physical reflection of the world in front of her bar, or perhaps a psychological statement of her inner reflection, having to do with the many patrons she has served in that building whose activities are well described in Second Empire and Third Republic literature—such as Georges Duroy's frequentations in Maupassant's Bel- Ami? The figure evokes compassion for this young female person who lives in a precarious world whose future depends only on the whims and decisions of men in her life. We are drawn to the sensual, as well as emotional, in our wanting to be able to step into her life to interact with her, help her, and to perhaps, save her from pain, poverty, disease and desolation. A Bar at the Folies Bergere by Manet (1882).Posted on 8/2. 8/0. Carole Singer, Woodland Hills, California. One could easily rename this painting The Voyeur. Me, I see a woman who stands displayed like the bottles of liquor and lucious fruits in a bowl.. Like the flowers she wears and the flowers in a glass in front of her she is in full bloom and will soon fade. I believe the expression on her face reflects her awareness of her position in the society surrounding her. I see two worlds..
How or why the artist set this scene before us is open to as many interpretations as there are viewers of this work of art. Posted on 8/1. 5/0. Connie Snyder, Henderson, NVThe barmaid, with arms outstretched, presents the sad reality of her world to the viewer. If we could see into her exanimate eyes, the reflection there would be one and the same with Manet's background. Posted on 8/8/0. 7 by Daniel Lobato, Pasadena. This painting is a . There is no mistake in the reflection. A man stands before the barmaid but her expression is aloof. Distant physically and emotionally, reserved and remote: she stands apart with dignity. Dignity is not visible. Manet's work was rejected, yet he continued to paint. She, like the artist, is extraordinary as we approach to her and are seen as merely ordinary. Posted on 8/6/0. 7 by Ren Ikuta, Laguna Niguel. I was very disappointed by the curator's decision to present this painting in its current environment. While in that room, far away from all other paintings, all that the other viewers seemed to talk about is this effect of the mirror. Was there not another way of conveying this question of perspectives than to isolate it, all alone in such claustrophobic space? Was this trick with the mirror so important as to disregard the fact that the painting was hung in a salon exhibition, along with many other paintings of Manet's time, and that the subject of the painting is itself of a variety- show, which must have had interesting relation to the social dynamics of the salon exhibition? This myopic presentation at the Getty seemed to obliterate the spirit of Manet's paintings, never an isolated object but a social one, relating to countless other subjects from Titian, Velazquez, and Goya of the past, to his contemporaries, and even to our own time. Posted on 7/1. 1/0. Michaelbookout, Sacramento CAWe the viewer are the man in the mirror. The artist, for composition purposes of necessity, had to put fruit etc. Manet's reputation is based on his bold moves in composition and the reaction to the . Posted on 7/9/0. 7 by Joe Corso, Long Beach, CAThis has always been one of my favorite paingings, and to see it in person for the first time was a treasured experience. Although Dr. Park's explanation for the perspective is fascinating, I believe Manet was playing freely and confidently with space and reflection and intended the mirror as an alternate reality, presenting two different points of view at once. How he got there, whether he used the complicated narrow cropping or not, doesn't affect the dizzying impact of the picture. Decades later Picasso would cause a stir by painting in multiple viewpoints. So Manet, who had ushered in Impressionism, was already looking into the 2. Posted on 7/8/0. 7 by April Game, San Diego. And look in the mirror behind her. She is in alternate worlds. In one she is actively being a bartender serving this gentleman a drink (listening to his order, preparing whatever) and in the other she stands back whistfully thinking of whatever events in her mind are giving her that pain. In the mirror behind her, she is leaning forward, her body looks active. The girl herself standing in front of us is standing straight.. Like seeing her interior and exterior worlds at once. Such a great painting. The interesting third dimension is, are we, the viewer, standing in the place of the gentleman at the bar? Posted on 7/6/0. 7 by Chris Campos, Los Angeles. I was awe struck. I have studied the painting in my humanities class and enjoed it very much, but to see it in real life, it was amazing! A truly spectacular experience. Posted on 6/2. 9/0. Lynda Cohalla, Austin, TXThe barmaid's resignation at her lot in life. A Bar at the Folies- Berg. It depicts a scene in the Folies Berg. It originally belonged to the composer Emmanuel Chabrier, who was Manet's neighbor, and hung over his piano. The painting. Many features have puzzled critics but almost all of them have been shown to have a rationale, and the painting has been the subject of numerous popular and scholarly articles. In 2. 00. 0, however, a photograph taken from a suitable point of view of a staged reconstruction was shown to reproduce the scene as painted by Manet. This is an unusual departure from the central point of view usually assumed when viewing pictures drawn according to perspective. Asserting the presence of the mirror has been crucial for many modern interpreters. There has been a considerable development of this topic since Michel Foucault broached it in his book The Order of Things (1. The French philosopher Maurice Merleau- Ponty has called a mirror . A critic has noted that Manet. Seen in the mirror, she seems engaged with a customer; in full face, she. The woman at the bar is a real person, known as Suzon, who worked at the Folies- Berg. For his painting, Manet posed her in his studio. By including a dish of oranges in the foreground, Manet identifies the barmaid as a prostitute, according to art historian Larry L. Ligo, who says that Manet habitually associated oranges with prostitution in his paintings. Clark says that the barmaid is . The beer bottles depicted are easily identified by the red triangle on the label as Bass Pale Ale, and the conspicuous presence of this English brand instead of German beer has been interpreted as documentation of anti- German sentiment in France in the decade after the Franco- Prussian War. But fate has chosen me For the bar at the Folies- Berg. The whole scene appears to be reflected in the mirror behind the bar, creating a complex web of viewpoints. Wall borrows the internal structure of the painting, and motifs such as the light bulbs that give it spatial depth. The figures are similarly reflected in a mirror, and the woman has the absorbed gaze and posture of Manet. Though issues of the male gaze, particularly the power relationship between male artist and female model, and the viewer. Nonsite. org Issue #6, July 1, 2. Retrieved July 2. Bradford R. Collins, ed., 1. Views of Manet's Bar, Princeton, New Jersey: Princeton University Press, 1. Foucault has given a talk on Manet's Bar at the Albright- Knox Art Gallery in Buffalo on April 8, 1. He had planned a book on Manet's painting and gave a series of lectures during 1. Cahiers de L'Herne: Michel Foucault, mars 2. Jeffrey Meyers, Impressionist Quartet: The Intimate Genius of Manet and Morisot, Degas and Cassatt. New York: Harcourt, 2. Doris Lanier, Absinthe, the Cocaine of the Nineteenth Century: A History of the Hallucinogenic Drug and Its Effect on Artists and Writers in Europe and the United States, Mc. Farland, 2. 00. 4, pp. ISBN 0. 78. 64. 19. Kenneth Bendiner, Food In Painting: From The Renaissance To The Present, Reaktion Books, 2. ISBN 1. 86. 18. 92. Rambert, Marie. Quicksilver: an autobiography. Papermac (Macmillan Publishers Ltd), London, 1. The Age newspaper: The great art robbery - Article on Brack's painting^. Archived from the original on 2. October 2. 00. 7. Merritt discusses the role of the mirror in this work.^Gallery Guide text for the exhibition Jeff Wall Photographs 1.
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