A Bar at the Folies-Bergère
Encyclopedia
A Bar at the Folies-Bergère , painted and exhibited at the Paris Salon
in 1882, was the last major work by French painter Édouard Manet
. It depicts a scene in the Folies Bergère nightclub in Paris
. It originally belonged to the composer Emmanuel Chabrier
, who was Manet's neighbor, and hung over his piano.
The beer which is depicted, Bass Pale Ale (noted by the red triangle on the label), would have catered not to the tastes of Parisians, but to those of English tourists, suggesting a British clientele. Manet has signed his name on the label of the bottle at the bottom left, combining the centuries-old practice of self-promotion in art with something more modern, bordering on the product placement
concept of the late twentieth century. One interpretation of the painting has been that far from only being a seller of the wares shown on the counter, the woman is herself one of the wares for sale; conveying undertones of prostitution. The man in the background may be a potential client.
But for all its specificity to time and place, it is worth noting that, should the background of this painting indeed be a reflection in a mirror on the wall behind the bar as suggested by some critics, the woman in the reflection would appear directly behind the image of the woman facing forward. Neither are the bottles reflected accurately or in like quantity for it to be a reflection. These details were criticized in the French press when the painting was shown. The assumption is faulty when one considers that the postures of the two women, however, are quite different and the presence of the man to whom the second woman speaks marks the depth of the subject area. Indeed many critics view the faults in the reflection to be fundamental to the painting as they show a double reality and meaning to the work. One interpretation is that the reflection is an interaction earlier in time that results in the subject's expression in the painting's present.
The painting has been interpreted as a modern paraphrasing of Las Meninas
by Diego Velázquez
.
Jeffrey Meyers, in his Impressionist Quartet: The Intimate Genius of Manet and Morisot, Degas and Cassatt, describes the intentional play on perspective and the apparent violation of the operations of mirrors: “Behind her, and extending for the entire length of the four-and-a-quarter-foot painting, is the gold frame of an enormous mirror. The French philosopher Maurice Merleau-Ponty has called a mirror ‘the instrument of a universal magic that changes things into spectacles, spectacles into things, me into others, and others into me.’ We, the viewers, stand opposite the barmaid on the other side of the counter and, looking at the reflection in the mirror, see exactly what she sees. Her own reflection, however, is not directly behind her, according to the strict rules of perspective, but at a right angle to where she’s standing. It seems to reveal her long hair, cheek, collar and back as she serves and chats to male customer. A critic has noted that Manet’s ‘preliminary study shows her placed off to the right, whereas in the finished canvas she is very much the centre [sic] of attention.’ Though Manet shifted her from the right to the center, he kept her reflection on the right. Seen in the mirror, she seems engaged with a customer; in full face, she’s self-protectively withdrawn and remote.”
The first owner of this painting was the composer (and close friend of Manet) Emmanuel Chabrier
.
n painter John Brack
, which depicts a comparatively grim Antipodean
bar-room scene, is said to be an ironic reference to A Bar at the Folies-Bergère.
Canadian artist Jeff Wall
makes reference to A Bar at the Folies-Bergère in his own work Picture For Women (1979).
The movie The Private Affairs of Bel Ami
(1947) faithfully references A Bar at the Folies-Bergère twenty nine minutes into the film with a look-alike actress, set and props as the main characters enter the establishment.
Paris Salon
The Salon , or rarely Paris Salon , beginning in 1725 was the official art exhibition of the Académie des Beaux-Arts in Paris, France. Between 1748–1890 it was the greatest annual or biannual art event in the Western world...
in 1882, was the last major work by French painter Édouard Manet
Édouard Manet
Édouard Manet was a French painter. One of the first 19th-century artists to approach modern-life subjects, he was a pivotal figure in the transition from Realism to Impressionism....
. It depicts a scene in the Folies Bergère nightclub in Paris
Paris
Paris is the capital and largest city in France, situated on the river Seine, in northern France, at the heart of the Île-de-France region...
. It originally belonged to the composer Emmanuel Chabrier
Emmanuel Chabrier
Emmanuel Chabrier was a French Romantic composer and pianist. Although known primarily for two of his orchestral works, España and Joyeuse marche, he left an important corpus of operas , songs, and piano music as well...
, who was Manet's neighbor, and hung over his piano.
The painting
The painting is filled with contemporaneous details specific to the Folies-Bergère. The distant pair of green feet in the upper left-hand corner belong to a trapeze artist, who is performing above the restaurant's patrons.The beer which is depicted, Bass Pale Ale (noted by the red triangle on the label), would have catered not to the tastes of Parisians, but to those of English tourists, suggesting a British clientele. Manet has signed his name on the label of the bottle at the bottom left, combining the centuries-old practice of self-promotion in art with something more modern, bordering on the product placement
Product placement
Product placement, or embedded marketing, is a form of advertisement, where branded goods or services are placed in a context usually devoid of ads, such as movies, music videos, the story line of television shows, or news programs. The product placement is often not disclosed at the time that the...
concept of the late twentieth century. One interpretation of the painting has been that far from only being a seller of the wares shown on the counter, the woman is herself one of the wares for sale; conveying undertones of prostitution. The man in the background may be a potential client.
But for all its specificity to time and place, it is worth noting that, should the background of this painting indeed be a reflection in a mirror on the wall behind the bar as suggested by some critics, the woman in the reflection would appear directly behind the image of the woman facing forward. Neither are the bottles reflected accurately or in like quantity for it to be a reflection. These details were criticized in the French press when the painting was shown. The assumption is faulty when one considers that the postures of the two women, however, are quite different and the presence of the man to whom the second woman speaks marks the depth of the subject area. Indeed many critics view the faults in the reflection to be fundamental to the painting as they show a double reality and meaning to the work. One interpretation is that the reflection is an interaction earlier in time that results in the subject's expression in the painting's present.
The painting has been interpreted as a modern paraphrasing of Las Meninas
Las Meninas
Las Meninas is a 1656 painting by Diego Velázquez, the leading artist of the Spanish Golden Age, in the Museo del Prado in Madrid. The work's complex and enigmatic composition raises questions about reality and illusion, and creates an uncertain relationship between the viewer and the figures...
by Diego Velázquez
Diego Velázquez
Diego Rodríguez de Silva y Velázquez was a Spanish painter who was the leading artist in the court of King Philip IV. He was an individualistic artist of the contemporary Baroque period, important as a portrait artist...
.
Jeffrey Meyers, in his Impressionist Quartet: The Intimate Genius of Manet and Morisot, Degas and Cassatt, describes the intentional play on perspective and the apparent violation of the operations of mirrors: “Behind her, and extending for the entire length of the four-and-a-quarter-foot painting, is the gold frame of an enormous mirror. The French philosopher Maurice Merleau-Ponty has called a mirror ‘the instrument of a universal magic that changes things into spectacles, spectacles into things, me into others, and others into me.’ We, the viewers, stand opposite the barmaid on the other side of the counter and, looking at the reflection in the mirror, see exactly what she sees. Her own reflection, however, is not directly behind her, according to the strict rules of perspective, but at a right angle to where she’s standing. It seems to reveal her long hair, cheek, collar and back as she serves and chats to male customer. A critic has noted that Manet’s ‘preliminary study shows her placed off to the right, whereas in the finished canvas she is very much the centre [sic] of attention.’ Though Manet shifted her from the right to the center, he kept her reflection on the right. Seen in the mirror, she seems engaged with a customer; in full face, she’s self-protectively withdrawn and remote.”
The first owner of this painting was the composer (and close friend of Manet) Emmanuel Chabrier
Emmanuel Chabrier
Emmanuel Chabrier was a French Romantic composer and pianist. Although known primarily for two of his orchestral works, España and Joyeuse marche, he left an important corpus of operas , songs, and piano music as well...
.
Cultural references
The painting The Bar (1954) by AustraliaAustralia
Australia , officially the Commonwealth of Australia, is a country in the Southern Hemisphere comprising the mainland of the Australian continent, the island of Tasmania, and numerous smaller islands in the Indian and Pacific Oceans. It is the world's sixth-largest country by total area...
n painter John Brack
John Brack
John Brack was an Australian painter, and a member of the Antipodeans group.-Life:...
, which depicts a comparatively grim Antipodean
Antipodes
In geography, the antipodes of any place on Earth is the point on the Earth's surface which is diametrically opposite to it. Two points that are antipodal to one another are connected by a straight line running through the centre of the Earth....
bar-room scene, is said to be an ironic reference to A Bar at the Folies-Bergère.
Canadian artist Jeff Wall
Jeff Wall
Jeffrey "Jeff" Wall, OC, RSA is a Canadian artist best known for his large-scale back-lit cibachrome photographs and art-historical writing. Wall has been a key figure in Vancouver's art scene since the early-1970s...
makes reference to A Bar at the Folies-Bergère in his own work Picture For Women (1979).
The movie The Private Affairs of Bel Ami
The Private Affairs of Bel Ami
The Private Affairs of Bel Ami is a 1947 drama film which stars George Sanders as a ruthless cad who uses women to rise in Parisian society...
(1947) faithfully references A Bar at the Folies-Bergère twenty nine minutes into the film with a look-alike actress, set and props as the main characters enter the establishment.
External links
- Higher resolution version of the painting
- The Guardian
- An essay on this painting from the book Beauty and Terror by Brian A. Oard here