A Bar At The Folies Bern�re Summary

Manet was well known for his paintings of “modernity”, which tried to capture Paris during the late 1800’s, revolutionizing painting during this time. He wanted to capture “modern” life, and this is why he chose to do a painting about the Folies Bergère. Cafés-Concerts were considered very modern for various reasons. They were described as being ordinary, yet successful. They allowed for the mixing of classes to occur. There was no distinction in, who came

The painting is depicting Picasso’s mistress Marie-Thérèse Walter. She is looking at herself in the mirror. The woman in the painting has very elegant feature. She has an even complexion and beautiful eyes. One side of her face is yellow which appears to be makeup with a greenish eye shadow and bright red blush. The other side of her face is a lavender color which is the same color as her arm, hands, breasts, stomach, and legs. The lavender side of the face does not have any makeup and is very smooth and blemish free. In the mirror her reflection she has darker purple complexion with added green and red on her face. There is a shadow on her face of the side of her head and neck. Her body is covered in light green lines that are all slanted downward. In the reflection both of her eyes are round and two different shades of red. One is a bright red and the other is a deeper red and they both look out of focus.

It is a famous example of Renaissance art showing portraiture, realism, and some perspective. In this painting there are four distinct characters. Each has a different expression that shows how they are feeling. There is also more detail in the faces then in any other parts of the painting. Another technique it demonstrates is heightened realism. Whereas before the Renaissance the figures may have been painted simply and in only enough detail to get the general idea across, these figures are shown more realistically. Lastly there is the technique of perspective as shown in the background of the painting. The sea stretches out into the sky and the land in the background is shown how it would look if the viewer was actually

In the social and artistic folklore of France during the 1800’s, the forest was a powerful representation. The forest was depicted as protection from the city, a haven for rest, and a peaceful retreat for contemplation. The forest in this painting is concealed and encompassed by thick foliage. Frivolous pursuits and somewhat sexual rendezvouses constantly occurred in accounts of the city’s outer edges. Because of this, during the late 1800’s, the outskirts of Paris were known to represent and embody to some degree the ethical issues of Paris itself, and consequently the country of France. La Promenade depicts the likeness of one of these described outings. Next, we will talk a little bit about the figures in the painting. The depiction of carefree pleasures and outings, along with flirting between men and women, was common in Paris during the 1860’s. However, this was only common with plebeians. In the realm of fine art painting, to which Renoir undeniably was classified in, these types of carefree, flirtatious people were very uncommon. Despite that, the characters in this painting indicate a romantic exchange. Male figures were seldom painted in fashionable genre paintings of settings from modern life. When a male figure was presented in a painting, the differences between males and females were emphasized. However, in La Promenade, we see that there is no emphasis placed on the role of

In representing female subjects, both Pablo Picasso’s oil painting Les Demoiselles d’Avignon (1907) and Édouard Manet’s A Bar at the Folies-Bergère (1882) manipulate the formal techniques of composition and perspective to create new ways of seeing their subject, emulating their contemporary society’s shifting views of women and the individual. Les Demoiselles depicts five naked prostitutes, flaunting their bodies, and some wearing tribal masks. In comparison, A Bar at the Folies-Bergère represents a female, who may also be a prostitute, tending a bar. The depiction of previously ‘hidden’ female subjects alone was an innovation of the perception of the artist, however, the formal treatment in representing these subjects was an important break from tradition.

All the figures in the painting were real individuals in Manet’s life. The man towards the left is Ferdinand Leenhof who is his soon to be brother in law, the man on the right is his younger brother Eugene Manet and most importantly the nude woman who left everyone stunned was a female model, Victorine Meurent, who makes another appearance in Manet’s other painting “Olympia” where once again she is the topic of debate. As all the figures were recognizable and were portrayed in an explicit narrative made it even more difficult to be displayed alongside traditional paintings.

The artist depicts an initial confusing and weirded-out thought for the viewer at first glance, but as one deeply examines the art, the subject matter begins to become more clear. The vision being shared in this non-objective painting has a context of placing one in the standing of Mr. Man by gaining height and freedom from the (white) bars that are rising on each level that represent conflict which traps one in a “cage” of misery. The unbalanced symmetry of having the left side take up more space with little action, and the right side being smaller with the action unraveling, makes the viewer break down each composite perspective. For the left side, the mysterious female muse, Moon-Face, has an unproportional face that is almost blushing with shades of light pasty orange, with the mouth wide open. The energetic mood is amplified by the tone of yellow that is splashed in the mouth, representing a loss of words or at a state of disbelief. The female’s lower half is created with tints of red that enhances the curves on her body, as if chiaroscuro connects the light and dark contrast to show outline of the breasts, stomach, and hips in

The painting “A Bar at the Folies-Bergere” a first modern painting that portrays young woman resting on the marble counter, the girl looks below the blond bangs with distant eyes and serene. Has the neckline adorned with a bouquet of flowers in front of it are bottles of champagne, beer and peppermint schnapps. She is the symbol of his time and the reality of his time reflected on his face. The tones of the picture, cold and creamy, remember rain and inspire melancholy. Through a game of perspective and optics, Manet gets the strange impression that we are also confronted the waitress the picture, as if we were at the Folies-Bergère and we saw that dandy reflecting itself. the result of the distorted logic of the work - is perceived tension.

Groseclose focuses on studying the artwork’s use of lighting and the identity of the subjects, their postures, and facial expressions. Also, she interprets the painting

The mundane setting of the painting was created purposefully to give the viewer a sense of calm. By painting a somewhat familiar scene to those that may have viewed it during this time period, the artist was able to allow the viewer to interject themselves directly into the painting. The nature of the geese as well as the maiden in the photo make it appear as if they were candidly captured with a camera in the middle of their daily routine. Unlike the Renaissance or other art periods that preceded Impressionism, the goal of the painting was not to convey any ideas, political beliefs, or promote one’s nationalism. The goal in this essence was to create a painting that captured a ‘scene’, which was done eloquently enough to allow the viewer to ‘transplant’ themselves directly into the scene if desired. The prowess of the painter was not meant to be evident in the painting. In fact, it is the mundane nature of the painting that is designed to make the viewer refrain from drawing any critical analysis of its curator.

The fact that the barmaids facial expressions don’t seem to match up with the body language portrayed in the reflection has to make you wonder what the true meaning, or if there is even a true meaning to this piece, or if Manet’s main purpose was to get the viewer to think and ponder about life, society, morals and take it all in on a personal level. Art is meant to inspire and to showcase your personality and individuality, but it’s also meant to provoke thought and change.

Concerning color, there is a stark contrast between the figure on the painting and the background. More specifically, the figure of the woman is predominantly delineated in white color, especially pale, ashen white, as far her apparel and facial complexion are concerned, while there are also various hues of grey, with respect to her hair and accessory feather. These white and grey shades are vividly contrasted with the prevailing red and crimson hues of the background (viz. the drape, armchair, and table). Moreover, one can detect colors of dark green (jewelry), some beige on the left (pillar), and darker or lighter shades of blue on the right side of the canvas (sky), which all in concert and in addition to the subtle purple hue forming the sun or moon exude a certain dramatic sentiment. Also, there is brown, which often easily segues into gold (viz. books and attire details respectively). The main contrast of colors between white and red would be interpreted as serving the purpose of rendering the figure of the woman, and especially her face, the focal point of the work, despite, paradoxically enough, the lush red shades at the background. Bearing that in mind, the significance of the woman’s face will be enlarged upon later, when discussing aspects of her identity.

The art and beauty in this painting is exemplified through the eyes of Boucher. It starts with a beautiful couple taking a rest after picking up some followers. Their clothing looks very elegant and colorful which shows that they are aristocrats. The man’s eyes are gazing at a shepherdess who gathered her own flowers. Their eyes are locked despite the man having his own woman right in front of him. The light brushstrokes of the dresses, flowers, and trees

Everything he paints and where he places objects has meaning. Every seemingly small or extraordinary detail could change the whole message the viewer receives. Behind the woman, we see a mirror, and in that mirror we can see that in front of her is a man in dark clothing and a top hat. He looks like a rich man and many believe the man is Manet. We can also see that the mirror is oddly distorted, if it was actually behind her, her reflection would be directly behind her not to the side. We know that this choice was intentional, she also is not facing her self. This could be because she does not want to look at what she has become. Maybe she does want to be rich but is not proud of what she has done to get try and get there. She is not facing herself because she no longer knows who she is. She doesn’t look to herself because she has lost sight of herself in the vanity. She wants more and more but as she gets more she loses more of herself. This is why her reflection is not behind her. Its to the side to show that her inner self is leaving her. Her inner self is becoming disconnected. She’s losing the true her as she morphs into this upper class woman. We don’t see the man in black in the foreground because she has lost sight of him too. She lost herself and him in the process. The mirror is her past, the past she’s left behind and the past she slowly losing. The message the painter is trying to portray is even though you

I think Velazques painted himself painting in the painting to show he was the Kings favorite painter. I think the king and queen did not really want to be painted in the portrait, because they wanted there daughter who is in the middle to be the center of attention. You can see how the light is more focused on Infanta Margarita(daughter). So Velazques painted the queen and king in the back but as a reflection in the mirror which is on the wall.