Manet 's Bar At The Folies Bergere

In late 19th century Paris, cafés-concerts (best described as “glorified beer halls” (Clark 206)) were a very popular destination for the people of Paris. Cafés-concerts became an integral part of Parisian social life, as they were visited by hundreds of people each night, regardless of class. A bar at the Folies Bergère became the topic of Edouard Manet’s last painting, as Manet tried to portray the new, “modern” Paris, and the introduction of mass production during this time. A Marxist art historian, T.J. Clark finds this particular painting important because it revealed a lot about the new, modern Paris, and Manet’s intentions with the painting. Clark focuses more on the emergence of the new social class during this time, and how this affected the role of women in Paris. The painting, A bar at Folies Bergère, has historical significance because of how it depicts modernity in the context of the emergence of a new social class (the petite bourgeoisie), the introduction of mass production, and the changing role of women.

Although examining art requires a huge knowledge, my intention in this essay is to analyze a piece of art, besides lyrics and the context, I’m going to examine it by following the steps presented by Alain de Botton.

As a prostitute relative to the gender roles of the nineteenth century, Olympia should be reserved and conforming to what a man wants, but her gaze reveals she has equal power in this pointedly sexual, even lascivious, situation. Olympia’s strong, unrelenting gaze into the viewer’s eyes asserts a dominance in her place, challenging the authority of men of the time to be the judge of a woman’s place. Her deliberate stare removes the deceptions men had of women. Instead of the man judging and sizing her up, Olympia is now the evaluator of the man’s worth and importance. This new perception that critics gleaned from Olympia resulted in horrible reviews and refusals. Another critic, Victor de Jankovitz, criticized that, “the expression of Olympia’s face is that of a being prematurely aged and vicious; the body’s putrefying color recalls the horror of the morgue,” (Bernheimer 256). Manet painted Meurent in the style of a still life from his perception, but Bernheimer’s harsh review expresses the refutal from the male society of Manet’s Olympia. The terrible responses to his painting upset Manet. However, some recognized Olympia as a masterpiece. A female critic, Emile Zola, remarked that “when other artists correct nature by painting Venus they lie. Manet asked himself why he should lie. Why not tell the truth?” (qtd. in Chris Jenks). Responses as such paved

Art is one aspect of the past that has carried on for decades. Art in any form may it be poetry, novels, and playwright, sculpting as well as painting, has been an outlet for generations and continues to be an outlet and a means for expression. This paper will discuss “ The Mona Lisa” one of Da Vinci’s most famous paintings, as well as another great painting, Antonio Veneziano’s

John William Godward’s painting lone portrays how the maintenance of appearance and self preservation is a desideratum. The painting consists of a pale, curly haired brunette woman with a flower crown set on her head, looking into a handheld mirror as she strikes a pose with her opposite hand. Flowing down from her shoulders and around her waist, the sheer quality of her gown paired with the tightness of the gold ribbon wrapped tightly to accentuate her figure exudes sensuality.

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

This painting about the process of applying make-up at the mistress's vanity conveying a pure young woman. The lace and pink ribbons along the chest of her dress create an almost architectural quality, being able to see the weight and stiffness that they create. The subtle focus on the cameo on her wrist being a portrait of her lover, King Louis XV contrasted with that the size of her eyes compared to her mouth transforms her into a childlike state. The painting provides a sense of mirroring. Even though Madame de Pompadour has a mirror placed in front of her, she turns her body facing towards us with an expression of intended innocence.

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 focus of the painting is a woman in bright yellow. This woman stands above the crowd, showing only her back and a hunched figure. Her posture suggests that she is shy, self conscious and is afraid of the spotlight that she suddenly finds herself in. Her head is bowed which hides her face and deters us from seeing her identity. She looks as if she carries a great burden on her shoulders. She shares her pedestal with another woman in red who is smirking and confidently showing herself off. She, unlike the other woman, displays herself to be seen by all. She leans against the building behind her, her arm thrown to the side, which opens up her posture. Her confidence is worn as easily as her revealing

I have chosen this topic, because it intrigued me the face of Suzon, who was a worker in the Folies-Bergere bar, she was not a barmaid. However, Mr. Manet hired her to be his model. In my mind Suzon and his pure and

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

Where the window represents the light of the outside world coming into the dark home, it can also represent how the world may see us from the outside looking, such as the simple old man contemplating by the window. But could also represent the superego, or how we project ourselves into the world, but then as the shadows grow darker near the staircase, the mood of the painting changes. With the stairs representing the parts of our mind, or ego, and contain our memories, desires, and ideals, the parts of our mind in which we communicate within ourselves to see who we truly are. And as the staircase darkens going upwards, so do the thoughts and memories throughout our lives. In the lower right corner, we see what looks like a woman stoking a fire. But I see this as representing the id, or the most primitive part of our psyche, the leftover remnants of when we were simple animals crawling out of the jungles of Africa. Where our primal instincts, sex drive, lust for violence, and impulses. With the woman by the fire standing in the shadows, stoking the flames of our instinctual nature, ever present, but always

Another interesting perspective captured in the painting is facial elevation and position. The meninas’ heads are at different elevations to that of Margarita. Their attention is towards Margarita yet their perspectives are different. María’s eye view is higher than Margarita’s eye view yet the painter makes it appear as if María’s eyes are looking up on Margarita. Moreover, Isabel’s elevation appears to pay homage to Margarita by her angle of inclination, eye direction and facial expression. .

The Large Bathers, 1898-1905 is the largest of Paul Cezanne's pictures and has been cited as an example of his ideal of composition and his restoration of classic monumentality after its lapse during the nineteenth century. Cézanne’s great achievement forced the young Picasso, Matisse, and many other artists to contend with the implications of Cézanne’s art. This essay will discuss how both Matisse’s Bonheur de Vivre (Joy of Life) and Picasso’s Les Demoiselles d’Avignon are considered as inspired by and breaking free of The Large Bathers.