Isabella Flores
Édouard Manet's 'A Bar at the Folies-Bergère' was created in the 19th century, in the year 1882. It is considered to be his last major work before his death in 1883. The painting depicts a scene in the Folies Bergère nightclub in Paris and is currently on display in the LVMH Great Room, Level 3 of The Courtauld Gallery in London.
| Characteristics | Values |
|---|---|
| Artist | Édouard Manet |
| Year | 1882 |
| Medium | Oil on canvas |
| Dimensions | 96cm x 130cm |
| Location | The Courtauld Gallery, London |
| Subject | A barmaid at the Folies-Bergère nightclub in Paris |
| Details | Includes a dish of oranges, champagne, beer bottles, a mirror, and the legs of a trapeze artist in the upper left corner |
| Interpretations | The barmaid may be a prostitute; the painting reflects modern life in Paris at the end of the 19th century; it explores the male gaze and power dynamics between the artist and the female model |
| Influences and References | Manet's frequent visits to the Folies-Bergère; the work of Impressionist painters; social class and milieu |
| Subsequent References in Popular Culture | Ballet, film, theatre, and other paintings |
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What You'll Learn
The painting's reflection and perspective
Édouard Manet's "A Bar at the Folies-Bergère" (1882) is a painting rich in detail and perspective. The central figure in the painting is a barmaid named Suzon, who worked at the Folies-Bergère in the early 1880s. Manet posed Suzon in his studio, and by including a dish of oranges in the foreground, he identifies her as a prostitute, according to art historian Larry L. Ligo.
The painting is known for its unique perspective and use of reflection. The barmaid stands before a mirror, and critics have debated Manet's understanding of perspective since the earliest reviews, with some accusing him of ignorance. Manet shifts the reflection of the male customer to the right, and the bottles on the left are also misaligned in the mirror. This play of reflections creates a complex web of viewpoints and emphasises the disorienting atmosphere of the bustling Folies-Bergère.
The French philosopher Maurice Merleau-Ponty's perspective on mirrors sheds light on the painting's reflection. He describes a mirror as an "instrument of universal magic that changes things into spectacles, spectacles into things, me into others, and others into me." Through the mirror in the painting, viewers stand opposite the barmaid, seeing exactly what she sees. This reflection also reveals a conversation between the barmaid and the gentleman as an optical trick, with the man standing outside the painter's field of vision, to the left, looking away from the barmaid.
The painting's reflection also includes a fashionable crowd mingling on the balcony, entertained by musical and circus acts. In the top left corner, a trapeze artist in green boots adds excitement to the scene. These details provide clues to social class and milieu, with the barmaid represented as both a salesperson and a commodity. The inclusion of specific beverages, such as Bass Pale Ale with its red triangle logo, also adds depth to the scene, with the choice of a British brand over German beer interpreted as a reflection of anti-German sentiment in post-Franco-Prussian War France.
Overall, Manet's "A Bar at the Folies-Bergère" is a complex and absorbing composition, utilising reflection and perspective to create a disorienting yet captivating scene, making it one of the iconic paintings of modern life.
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The barmaid's identity
Édouard Manet's painting 'A Bar at the Folies-Bergère' was completed in 1882 and is considered his last major work before his death in 1883. The painting depicts a barmaid standing behind a bar counter, gazing out of the frame, with a shadowy male figure observing her. The barmaid is the central figure of the painting, and the whole scene is reflected in a mirror behind her, creating a complex web of viewpoints.
The barmaid in the painting is a real person, known as Suzon, who worked at the Folies-Bergère in the early 1880s. Manet posed Suzon in his studio, and by including a dish of oranges in the foreground, he may have identified her as a prostitute, as art historian Larry L. Ligo suggests that Manet associated oranges with prostitution in his paintings. T.J. Clark supports this interpretation, stating that the barmaid represents one of the prostitutes for which the Folies-Bergère was well-known.
However, other interpretations of the painting exist. One critic notes that the barmaid's expression is enigmatic and unsettling, and she appears to be interacting with a male customer reflected in the mirror. The play of reflections emphasises the disorienting atmosphere of the bustling Folies-Bergère.
The painting is rich in details that provide clues about social class and milieu. For example, the expensive chandeliers, champagne, and beer bottles suggest that the Folies-Bergère was attended by the growing middle and upper classes. The barmaid's identity as a prostitute, if accurate, further complicates the interpretation of the painting, as she can be seen as both a salesperson and a commodity.
Manet's painting has been the subject of numerous scholarly articles and has inspired various works of art, literature, and film. It continues to captivate viewers with its complex composition and intriguing subject matter.
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The nightlife of 19th-century Paris
Paris in the 19th century was a bustling hub of activity, with a rich and varied nightlife. The city was famous for its restaurants, such as the Café Riche, the Maison Dorée, and the Café Anglais on the Grands Boulevards, frequented by the wealthy and even characters in Balzac's novels. The Second Empire added more luxury restaurants in the city centre, near the new grand hotels.
The nightlife was centred around music and dance halls, with the Folies Bergère being established in 1869. It featured mostly women performers showcasing a variety of talents, from ballet to magic. The cabaret trend began in the 1880s, with the opening of La Chat Noir in Montmartre, a bohemian district that attracted many artists. The cabaret offered a place to sit, drink, eat, and watch performances. The Folies Bergère incorporated cabaret into its shows in the 1890s, with women dressed in lavish and revealing clothing, singing, dancing, and acting. The cabaret became an integral part of Parisian social life, allowing people to socialise and relax.
The Moulin Rouge, which opened in 1889 in the red-light district of Pigalle, attracted a middle-class clientele. It was here that the famous cabaret dance, the Can-Can, was created, involving women lifting their skirts and displaying their legs. Another famous dance hall was the Le Delaville, once a 19th-century bordello, now a low-key bar and restaurant with Belle Epoque decor, including a majestic staircase.
The city's nightlife also included artistic performances, with the Société Nationale de Musique promoting French contemporary and chamber music. The funeral of Victor Hugo in 1885 was a memorable civic event, with hundreds of thousands of Parisians gathering on the Champs-Élysées.
The 19th century also saw the beginnings of the film industry in Paris, with pioneers like Georges Méliès, who established a studio in 1897 and created the first science-fiction film, "A Trip to the Moon", in 1902.
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Manet's health and process
Édouard Manet's painting "A Bar at the Folies-Bergère" was completed in 1882, a year before his death in 1883. It is considered Manet's last major work, completed during a period of declining health. Manet suffered from long-term syphilis, which caused him great physical pain and forced him to paint "The Bar" while seated, a departure from his earlier working methods.
The painting depicts a barmaid at the Folies-Bergère nightclub in Paris, surrounded by an array of drinks and a platter of oranges. The barmaid, known as Suzon, was posed by Manet in his studio. She stands in front of a mirror, which reflects a male figure, possibly a self-portrait of Manet, and creates a complex web of viewpoints and interpretations. The painting is rich in details that provide clues about social class and the milieu of 19th-century Paris.
Manet's commitment to realism and his bold, fresh style are evident in this work. He frequented the Folies-Bergère with friends and made sketches on-site, capturing the bustling atmosphere of the popular music hall. However, the final work was painted entirely in his studio. Manet's use of mirrors, reflections, and ambiguous perspectives adds to the sense of disorientation and has puzzled critics and art historians alike.
The barmaid's expression is enigmatic, and her reputation and intentions are open to interpretation. Some art historians suggest that she represents a prostitute, as female barmaids were often associated with sexual services during this time. The inclusion of oranges in the foreground may also be interpreted as a subtle hint at prostitution, according to art historian Larry L. Ligo.
Manet's health and physical decline likely influenced his creative process for this painting. His thoughts and imagination became a primary means of escape and exploration, reflected in the dreamy yet direct gaze of the barmaid. "A Bar at the Folies-Bergère" stands as a testament to Manet's enduring legacy and a significant work in the development of Impressionism and modernist art history.
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The painting's influence and references
Édouard Manet's "A Bar at the Folies-Bergère" has had a significant influence on various art forms and has been referenced in numerous works. Painted in 1882, it is considered Manet's last major work, completed a year before his death, and exemplifies his commitment to realism in its detailed portrayal of contemporary Parisian life.
The painting's influence can be seen in the 1934 ballet "Bar aux Folies-Bergère," choreographed by Ninette de Valois with music by Chabrier, which was directly inspired by Manet's painting. The 1947 film "The Private Affairs of Bel Ami" also includes a faithful reference to the painting, with a look-alike actress, set, and props as the main characters enter an establishment.
In popular culture, "A Bar at the Folies-Bergère" has been referenced in literature, film, and music. The popular British children's book "Adventure in Paris" clearly references the painting by depicting a scene where the characters travel back to 19th-century Paris. The painting also inspired a song in the 1951 London theatre production "The Lyric Revue." Additionally, the 1988 Eddie Murphy film "Coming to America" features a spoof of the painting, with dark-skinned barmaids in red dresses and a hamburger on a plate.
Canadian artist Jeff Wall's work "Picture for Women" (1979) also references Manet's painting. Wall borrows the internal structure, motifs, and the complex web of viewpoints created by the mirror in Manet's work.
"A Bar at the Folies-Bergère" has also had an impact on the development of Impressionism. Although Manet did not exhibit with the Impressionists, his bold and fresh work has been associated with the style. Impressionist painters were influenced by modern life and societal changes, and Manet's painting provided an insight into Parisian modern life at the end of the 19th century.
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Frequently asked questions
The painting was created in the 19th century, in 1882.
The painting was created by French artist Édouard Manet.
The painting is currently in the Courtauld Gallery in London.
'A Bar at the Folies-Bergère' is considered to be Manet's last major work, completed a year before he died. The painting is rich in detail, including a bowl of oranges, which art historian Larry L. Ligo interprets as identifying the barmaid as a prostitute. The painting also features a complex use of mirrors, reflecting the auditorium, audience, and a trapeze artist.
