{"id":1315,"date":"2021-06-12T06:52:16","date_gmt":"2021-06-12T03:52:16","guid":{"rendered":"https:\/\/mymanet.net\/?p=1315"},"modified":"2023-05-29T19:38:12","modified_gmt":"2023-05-29T16:38:12","slug":"manets-self-portraits-seeing-oneself-seeing-p12","status":"publish","type":"post","link":"https:\/\/mymanet.net\/home\/2021\/06\/12\/manets-self-portraits-seeing-oneself-seeing-p12\/","title":{"rendered":"Manet’s Self-Portraits – Seeing Oneself Seeing (P12)"},"content":{"rendered":"

In the previous posts, I have developed a scheme which \u2013 as proposed by MyManet<\/em> \u2013 is guiding Manet\u2019s composition of Luncheon on the Grass<\/em>. The claim is that this scheme is not only a scheme for this painting but is a \u201chidden scheme\u201d informing also the composition of following paintings.<\/p>\n

To show this, I first want to apply the scheme to his self-portraits.
\nManet painted only two self-portraits late in his career 1878-9. He inserted small images of himself in early paintings like The Fishing<\/em> and Music in the Tuileries, <\/em>as we have seen, and later in Masked Ball at the Opera<\/em>. But they were not self-portraits in the narrower sense, more like ironic comments.<\/p>\n

It seems that he did not especially like to paint self-portraits, although he liked his painter friends, for instance, Henri Fantin-Latour and Edgar Degas to picture him. Figure 1 shows two often reproduced pictures.<\/p>\n

Figure 1: Portraits of Manet by Henri Fantin-Latour and Edgar Degas<\/p>\n

\"\"<\/p>\n

The pictures and the self-portraits below show Manet as the \u201cdandy\u201d enjoying his life as a painter. And most references to the paintings just use them for illustrating this point. But there is more to them.<\/p>\n

So, one question concerns the Why?
\nWhy did Manet paint self-portraits rather late in his life?
\nAn interesting remark by James Rubin (2010, p.372) suggests that \u201cManet\u2019s self-portraits certainly look back to the dialogue of gazes in his pictures of Victorine and Morisot\u201d (e.g. Luncheon on the Grass<\/em> and The Balcony<\/em> \u2013 RP).
\nRubin does not elaborate this remark and goes on to suggest that they also \u201cset the stage for A Bar at the Folies-Berg\u00e9re\u201d<\/em>, the last great masterpiece by Manet.
\nThis seems to imply that the self-portraits demonstrate in some way the scheme of MyManet<\/em>, and that the scheme, in fact, never loses its relevance in Manet\u2019s painting over the stages of his career.<\/p>\n

But, obviously, a self-portrait is not the kind of painting to which we would expect the multi-person scheme to apply.
\nOn the other hand, if I can show that the scheme helps to interpret Manet\u2019s view of himself, that would be a great test for the scheme.
\nSo, let us try!<\/p>\n

Figure 2 shows the two self-portraits by Manet and below a detail from Las Meninas<\/em> by Velasquez with the master himself, and a painting by the very young Rembrandt standing somewhat lost in his bare atelier. Velazquez we have met in earlier posts as Manet\u2019s idol. The little painting by Rembrandt I found in An<\/em> Introduction to Art<\/em> by Charles Harrison (2009).<\/p>\n

Figure 2:  Manet\u2019s Self-Portraits and Self-Portraits of Diego Velazquez and Rembrandt<\/p>\n

\"\"<\/p>\n

Self-portraits typically show what L\u00fcthy (2006) has described as \u201cseeing oneself seeing\u201d, the painter looks at himself or herself in the mirror (or in a photograph) and sees the image looking back.
\nThis reflexivity is a welcome starting point for philosophical interpretations which the painter may or may not have entertained himself or herself.<\/p>\n

I want to set these interpretations aside and rather take the view of MyManet<\/em>. In this view, Manet is foremost a realist and attempts in all sincerity to \u201cshow what exists and what one sees\u201d (see Post 10). This includes for him to place the activity of painting into a setting which implies a social space and an environment (e.g. his atelier) with actual (e.g. the model) or virtual (e.g. the viewer) others.<\/p>\n

In this scheme, the figure in the self-portrait can be seen in different roles:<\/p>\n

Case 1: The figure is the First<\/em><\/strong> looking and engaging the viewer and\/or painter.
\nMost self-portraits, not only Manet\u2019s, chose this role. The painter is presented as a person ready to communicate with the viewer, even when the figure is shown in different emotional states and signalling the incapacity or unwillingness to engage with the viewer and rather addresses himself or herself. In these cases, the painting demonstrates even more the reflexive engagement with the painter.<\/p>\n

Case 2:  The figure is the Second<\/em><\/strong>, typically alone in the painting and looking outside the frame, although only to present the (half-)profile to the viewer.
\nThe objects in view of this figure are irrelevant to the painting, of relevance may be the very fact that the painter does not<\/em> show his frontal face. This creates a distance from the viewer which can signal, for instance, a social distance of a person of status.
\nManet\u2019s self-portrait standing in his atelier may be seen as a version of this case.<\/p>\n

In fact, I think that this self-portrait is made exactly to experiment with this case, while the self-portrait with palette experiments with the other cases. Both paintings are created at the same time.
\nHe can be interpreted to look critically at the painting itself rather than at the viewer, quasi looking from the side. The figure in the mirror (Manet) will be standing to the left of the painting and may even have a (virtual) view of the painting. This is suggested by Barbara Wittmann, although she sees the gaze of Manet both as \u201cabsent\u201d and \u201cintensely\u201d observing, which appears to me incompatible and stretching the interpretation (2004, p.223).<\/p>\n

I agree that a painter choosing to present himself as not looking at the viewer does present himself as an \u201cOther\u201d (p.220), but only in the general sense of being \u201cobjectively\u201d represented. Thus, Manet shows himself in the role of the model<\/em>, and the model in the mirror substitutes, as it were, as a kind of double for the unrepresented Second<\/em>. The viewer, not being the centre of the figure’s gaze, might imagine that there is somebody else just outside the painting. This would be a normal reaction when looking at someone who is not looking at you.<\/p>\n

This case 2 raises the interesting problem that Manet as the painter cannot see himself with the gaze of a Second<\/em>
\n(or an absorbed figure) \u2013 the figure not<\/em> looking back at him \u2013 in the mirror!
\nNobody can \u2013 again, a great starting point for philosophical interpretations.
\nIn the age of photography, already at Manet\u2019s time, we can look at our image in profile or as absorbed gazing at some other object. Or we might have a friend like Degas who can draw us (see Figure 1). But we cannot see it in the mirror.<\/p>\n

For a naturalistic realism, this is a problem because one cannot see and paint what one knows to exist<\/em> \u2013 one\u2019s view in profile \u2013 because one cannot see<\/em> it. The realist Gustave Courbet famously said that he would paint an angel but only if he could see it. Well, he painted his self-portraits \u2013 like the image in The Painter\u2019s Studio<\/em> (Post 6) and many other self-portraits – without ever seeing it exactly that way. Following the tradition, he corrected the reversion by the mirror \u2013 showing the \u201creal\u201d Courbet he could not<\/em> see –  sometimes on the basis of a photograph.
\nFor Manet\u2019s realism, this is not necessarily a crucial problem. It is a fact of everyday life that we do not see e.g. all sides of an object and that we have to infer the \u201chidden\u201d views which show what exists.
\nIn his self-portrait with the palette, he must deliberately have chosen to paint the mirrored image \u2013 showing what he sees! Why?
\nIn the self-portrait standing he also shows the mirrored image. But he shows a face that he cannot have seen in the mirror! Why?<\/p>\n

Case 3: The portrait can imagine the role of the Third<\/em><\/strong>.
\nIn Figure 2, a charming example is the self-portrait of Rembrandt. Harrison apparently loves this little painting as much as I do. But I do think that he misinterprets the gaze of the young artist. Harrison points out that Rembrandt is not<\/em> looking at his painting, and he suggests that the artist is looking at an imagined viewer (p.8-10). He provides a detailed view of the painting to prove his point. However, Rembrandt is not looking at the viewer of his painting<\/em>, his gaze is directed slightly upward, and the imagined viewer would have to stand in a some elevated position more to the right. Actually, his gaze is very similar to the gaze of the Third<\/em> in the scheme of Luncheon on the Grass<\/em>, the male sitting next to the female engaging the viewer.
\nAs indicated already in Case 2 about the Second<\/em>, this is not a sight of himself which Rembrandt could have seen in real life or in a mirror. We have also no reason to assume that he looks at anyone or anything in particular existing unrepresented just outside the picture frame. Rembrandt presents himself as gazing at some idea or \u201cauthority\u201d, perhaps inwardly in wonder about his future as an artist.<\/p>\n

In the following unique and amazing series of self-portraits Rembrandt demonstrates how he explores his inner potential through a reflection expressed in self-portraits. Thus, the \u201cBig Other\u201d of Manet\u2019s scheme, toward whom the Third<\/em> is directing the gaze, might turn out to be the most inner self of a genius.  Georg Simmel in his analysis of Rembrandt <\/i>(1916) has described how Rembrandt expresses his genius as a force from within the painting (like an actor expressing subjectively-involved his role on stage), while Velazquez and Manet are examples of artists who express a principle they experience in reality (like an actor presenting objectively-detached his role in a script). Applying the analogy of the theatre, we keep in mind that in painting the activity of the painter combines – like in a puppet theatre – the roles of the author, director, and performing artist. The sociologist and social philosopher Simmel, as I indicated earlier, is a key reference for MyManet<\/em>.<\/p>\n

Case 4: The portrait can express the role of \u201cthe Other<\/em><\/strong>\u201d.
\nIn this case, the viewer must have reason to believe that the painter has presented himself or herself as seen from an alternative viewpoint<\/em>. As L\u00fcthy argues, Manet does this by modelling himself in the pose of Velazquez (see Figure 2). In a sense, Velazquez is looking over Manet\u2019s shoulder in the painting \u201cfrom the back\u201d just like the second woman in Luncheon on the Grass<\/em> takes the view from backstage. But there is more to it. As I try to show shortly, Manet himself is looking \u201cfrom the back\u201d.
\nHere the point is that the painter looking in the mirror (or at a photograph) may take \u201cthe role of the other\u201d and try to communicate something about himself or herself, showing not only what one sees<\/em>, but showing what exists<\/em> with clues in the painting. Manet consistently avoids \u201ctelling stories\u201d, whether about other persons or himself. We expect that \u201cthe Other<\/em>\u201d will appear in his self-portrait only as the formal option of an alternative view, not as some more or less revealing information about his inner mental life.<\/p>\n

As suggested above, Manet deliberately shows what he sees, i.e. the mirror image.
\nExcept, the painting right hand holding the brush is not clearly depicted!
\nThis has provoked interpretations by Fried, Wittmann, L\u00fcthy, and others that Manet tries to show \u201crealistically\u201d his fast moving hand making bold brush strokes. He cannot paint it clearly \u2013 this \u201cspeed-model\u201d holds \u2013 because he is moving his hand too fast. Wittmann offers additionally the view \u2013 the \u201cclose-up model\u201d – that when moving his hand toward the mirror image it comes too close to be focused sharply.
\nI think both interpretations are not tenable:<\/p>\n

The \u201cspeed-model\u201d – as I like to call it here – conflicts with the overall impression of the painting.
\nManet is clearly striking a pose, probably trying to simulate Velazquez. There is nothing hasty about it, not in his self-portrait and not in the model of Velazquez (see Figure 2). When painting any model, whether somebody else or your mirror image, you want the model to keep the pose, you study the pose, imprint it in your short-term memory, turn your eyes to the painting, and try to make the appropriate marks on the canvas correcting the painted image while doing it. Your head may be turning a bit and perhaps the body, too, but your hand \u201cwaits\u201d until you secured an impression and turn to the painting.
\nA problem arises, when you try \u2013 like Manet \u2013 painting yourself in the pose of reaching with the brush hand toward the canvas. Still, there is no need to be quick, you just turn and move your hand toward the mirror creating the image of your hand close to the \u201ccanvas\u201d<\/em>. The problem is that in reaching out toward the mirror the mirrored hand also reaches out toward the \u201cback\u201d of the mirror plane and your brush hand will cover up its image! <\/em>As Manet\u2019s painting shows, you might only see your fingertips, since your eyes are somewhat to the left of the hand.<\/p>\n

Figure 3 tries to reproduce the stage of painting and, then, the stage of leaning over to the left to create the mirror image with Manet\u2019s brush hand close to the mirror plane. The mirror image follows his movement, and the hand covers its own image.<\/p>\n

As to the \u201cclose-up model\u201d, in this movement his mirrored hand never gets closer to his eyes than the mirror. So, we have no basis to assume a blurred perception of the brush hand.<\/p>\n

Figure 3: Diagram of Manet painting
\nand Manet leaning to the left to move his brush hand close to the \u201ccanvas\u201d\/mirror.<\/p>\n

\"\"<\/p>\n

In the movement, Manet has to be careful not to come too close to the mirror with his other hand holding the palette. Apparently, he was not careful enough, since the tips of the three brushes have touched the mirror surface. Being the true realist, he truthfully paints the three little dots \u2013 show what one sees!<\/p>\n

The three dots, now indicate the mirror surface in the painting \u2013 although Manet does not show the mirror explicitly, say, by showing the frame. Manet is playing games with us, again.<\/p>\n

Another problem arises with depicting the eyes. Manet is close to his mirror image \u2013 remember the three dots \u2013 and in this near distance one cannot look at both eyes at the same instant. Manet has to focus either on the left eye (his illuminated right eye) or on the right eye (his left eye in the shadow). L\u00fcthy (2006, p.194) calls the left eye the \u201cactive eye\u201d because it actively engages with the viewer, and the other eye the \u201cpassive eye\u201d being only looked at by the viewer.<\/p>\n

But Manet has again an optical problem. Looking at the active eye, he gets an impression of his gaze to the assumed viewer, but he cannot see his passive eye clearly. Shifting his focus to the passive eye, this eye is not passive anymore but actively looking at him!<\/em>
\nIn the painting, we now see a little cross-eyed Manet, since being the truthful realist he shows what he sees – just painting first one eye and then the other.<\/p>\n

At this point, Manet is clearly leaving a naturalistic realism and accentuates what exists but cannot be seen by him when looking at the viewer with his presented, active eye. The eye in the shadow is somewhat enlarged and the face appears to be a little more frontal. The \u201cother Manet\u201d is looking at him – and at the viewer who shifts the focus to this \u201cother eye\u201d. We are reminded of the too large woman in the back of Luncheon on the Grass<\/em> or of  The <\/i>Absinthe Drinker<\/em> representing Manet himself in the background of The Old Musician<\/em>.<\/p>\n

We return to the question why Manet is painting these self-portraits so late in his career.
\nMost interpretations refer to the increasing health issues which made him reflect more on his mortality, and, in fact, lead to his death only a few years later. I like to propose an interpretation which follows up on the remark by Rubin cited above, namely, that Manet wanted to reassert his version of realism in view of the growing success of impressionism and to return to the \u201cdialogue of gazes\u201d (Rubin) realized eventually in his last masterpiece.<\/p>\n

The self-portrait can be understood as an impressionist painting if taken literally \u2013 painting your impressions or what you see. But Manet is deliberately showing the mirror image, not \u2013 as Fried suggests – because he wanted to show that his quick impressionistic style does not leave the time for reversing the image (1996, p. 397). Manet is playing games with this \u201crealism of visual perception\u201d and demonstrates his own \u201crealism of the body\u201d by showing the inconsistencies arising in the attempt to reduce the world to the visual image.
\nThis emphasis on his self-critical realism<\/em><\/strong> against the impressionist explains also, why Manet is referring to Velazquez again after avoiding citations of the Spanish master in the 1870ies.<\/p>\n

Manet does not even show the mirror, because it poses no genuine problem for him. For Manet, \u201cthere is no mirror to be penetrated\u201d \u2013 as Pierre Courthion puts it \u2013 \u201cManet was not a painter of impressions, but of composed instants\u201d (2004, p.33). His art is a \u201cspace inhabited by mankind \u2013 it is the poetry of space in painting\u201d (p. 35).<\/p>\n

I think even his self-portraits testify to the influence of Manet\u2019s compositional scheme. So let us take a closer look at other paintings following Luncheon on the Grass<\/em> where the influence is more explicit.<\/p>\n

See you next week!<\/em><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Exploring Manet’s self-portraits with his compositional scheme<\/p>\n","protected":false},"author":199326225,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"nf_dc_page":"","_crdt_document":"","footnotes":""},"categories":[156853,225364],"tags":[156853,748385127,748385130,53643],"class_list":["post-1315","post","type-post","status-publish","format-standard","hentry","category-diagram","category-manet","tag-diagram","tag-manets-scheme","tag-self-critical-realism","tag-self-portrait"],"yoast_head":"\nManet's Self-Portraits - Seeing Oneself Seeing (P12) - My Manet \u2013 Your Manet<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/mymanet.net\/home\/2021\/06\/12\/manets-self-portraits-seeing-oneself-seeing-p12\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Manet's Self-Portraits - 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