{"id":1491,"date":"2021-06-18T02:58:23","date_gmt":"2021-06-17T23:58:23","guid":{"rendered":"https:\/\/mymanet.net\/?p=1491"},"modified":"2023-05-29T19:33:50","modified_gmt":"2023-05-29T16:33:50","slug":"elementor-1491","status":"publish","type":"post","link":"https:\/\/mymanet.net\/home\/2021\/06\/18\/elementor-1491\/","title":{"rendered":"My Manet – looking back and looking forward (13)"},"content":{"rendered":"

Looking back on the first twelve Posts, we notice that I still have not answered my initial question about Why? \u2013 about why Luncheon on the Grass<\/em> has fascinated me about 60 years ago.<\/p>\n

Looking forward, I should describe what is next and how I want to go from here.<\/p>\n

Let us look at the initial question first, even if a final answer \u2013 if there is such a thing \u2013 will not be possible.\u00a0I keep learning about my engagement with Manet.<\/p>\n

As mentioned in About<\/em><\/strong>, there are some likely factors that could have raised my interests, which did not<\/em> play an important role in my case.
\nWhen I started my hobby, painting in the family kitchen in Cologne, Germany, in the early 1960ies, I was not really interested in art history and knew little to nothing about Edouard Manet.
\nEven his paintings \u2013 speaking to me themselves \u2013 made not a great impression.<\/p>\n

Perhaps with the exception of Victorine Meurent \u2013 the model \u2013 looking at me!<\/p>\n

Figure 1:
\nVictorine looking at me \u2013 an ink sketch 1982 and digital sketch 2021<\/p>\n

\"\"
\nIt is telling that twenty years later, when I had another \u201cfit\u201d for painting, I started with ink sketches of the figures in <\/span>Luncheon<\/em> and other portraits by Manet\u00a0 \u00a0 – and still do …<\/span><\/p>\n

Actually, I favoured other painters – like Cezanne, Braque, Matisse, or Vlaminck \u2013 basically, the next generation of painters agreed to be the founders of modern art.
\nBesides, my preferences changed over time and included abstract and \u2013 later – contemporary painting.
\nSo, the aesthetics of Manet\u2019s paintings, in a narrower sense, were not an important aspect.<\/p>\n

Seeing him as a rebel or revolutionary in the development of modern art, was not an attraction either.
\nMy own political interests started later with the “68-movement”, as a student in Hamburg.
\nI just wanted to paint in my spare time.<\/p>\n

So, the attraction must have originated from the form<\/em> and content<\/em> of the painting, from the way Manet presented the figures. (And the attraction had little if anything to do with the fact that Victorine was naked. That was a cause for a scandal in Paris a hundred years earlier, but not in Germany after the \u201csexual revolution\u201d of the 1950ies.)<\/p>\n

Two factors might have caught my attention, Manet\u2019s \u201ctheatricality\u201d (to use Micheal Fried\u2019s term) and the puzzling social relations in the painting which are disturbing viewers and interpreters to this day.<\/p>\n

The theatre<\/em><\/strong> played a great role in my life at the time.
\nMy mother was a trained actor, although she was – as a wife and mother of two children \u2013 only exercising her profession in a lay theatre. The theatre was, however, of the scope and quality of a large city institution (subsidized heavily by local industry). And I spent much of my time not only in the audience, but also backstage watching rehearsals, assisting in painting coulisses, and operating the illumination during performances.<\/p>\n

Many times, I would find myself in a position illustrated in Manet\u2019s Lola de Valence<\/em>:
\nBeing backstage and looking down at the actress waiting to go on stage, while sitting about 2 meters above her to the right operating the spotlights.<\/p>\n

Figure 2:\u00a0 Manet Lola de Valence <\/em>(1862)<\/p>\n

\"\"<\/p>\n

Seeing a theatre scene unfolding in Luncheon on the Grass<\/em>, therefore, must have occurred to me quite naturally. \u201cTheatricality\u201d certainly was an attractive feature then, and, not surprisingly, it is influencing my interpretation of Manet\u2019s works now \u2013 as a puppet theatre.<\/p>\n

Concerning the puzzling social relations<\/em><\/strong>, a somewhat similar phenomenon happened.
\nOnly well into my professional life as a sociologist I realized that I was attracted to the \u201cformal sociology\u201d of Georg Simmel (1858\u20131918), a founding father of the discipline around the turn of the century.
\nHowever, he was not my favourite.
\nSimmel made himself a name analysing modern life as it developed at the times of Manet and has influenced art historians. But my interests were in social change and social policy, both not the strongholds of Simmel.<\/p>\n

Still, the impact of the formal structure of social relations, the number of people and the patterns of their networks, intrigued me. Simmel was one of the first to systematically analyse the social forms<\/em><\/strong> underlying social processes beyond any particular cultural content<\/em>.
\nHe was a strong advocate of individuality<\/em> and the expression of individuality in cultural life – in fashion, consumption, media, religion, and the arts. But he was critical of egocentric individualism<\/em>; he saw the individual intertwined in a network<\/em> of social relations, forming a pluralism<\/em> of social circles and distinct realms like science, arts, religion, politics, and the economy.
\nSociety was, in his view, more characterized by diversity<\/em> than by any unifying cultural idea or socio-economic power.<\/p>\n

For somebody like me \u2013 not yet influenced by the great ideas and the political dimension of social change \u2013 the formal structure in interactions and the conflicting potentials for action was perhaps appealing.
\nMy background in the reality of theatre demonstrated to me that the \u201ccontent\u201d of the play will change, but the \u201cform\u201d of actors, their costumes and cosmetics, the stage, and the technologies would be similar in the next performance. In sociology, I directed my interests toward urban sociology looking at people on their \u201cstage\u201d in society.
\nIn as much as Manet put his figures on a stage, the actors can change, they are ready to play different parts in different dramas. And somebody has to provide the stage and the illumination\u2026<\/p>\n

There is a third factor<\/em>, which influences my current reflections on Manet more than it probably did back then.
\nIt is linked to Manet\u2019s realism<\/em><\/strong>.
\nScience attracted me more than art; in terms of our discussion of Manet\u2019s realism:
\ndiscovery in the spirit of objectivity seemed to be more my thing than expressing my subjectivity.
\nManet experienced already the pressure of an enhanced subjectivity and individualism which turned his objectivity in an \u201cattitude\u201d which the impressionists did not share, perhaps with the exception of Edgar Degas (Herbert 1988). But Degas’ objectivity flowed from a dislike for more intimate human relations, while Manet was a sympathetic and social companion with close friends throughout his life.
\nIn some way, I might have sensed that Manet was also choosing the objective over the subjective.
\nAlthough for him that meant a choice for self-critical realism and discovery within art; for me it meant a choice for critical realism and discovery in the field of knowledge.<\/p>\n

Now, we meet again in the exploration of his art in an objective spirit.
\nAccepting Manet\u2019s position that his medium is painting and not language or poetry, the common ground has to be the exploration of visual rather than verbal communication.
\nAccepting his realism, we place the individuals in real life settings, although presented within a \u201crealistic formalism\u201d (L\u00fcthy), or \u00a0\u2013 with the words of Courthion \u2013 mankind presented in \u201ccomposed instants \u2026 and the poetry of space in painting\u201d (see previous post).<\/p>\n

So, where to go from here?<\/p>\n

We keep the spirit of simplicity, sincerity, and naivet\u00e9 combined with a certain detached objectivity.
\nAnd we look at other paintings which present relations between people on a scale which allows their gazes to compose a social space \u2013 seeing, being seen, and reflecting on being seen by others.<\/p>\n

On this route, we will take the \u201cformal\u201d analysis two steps further.
\nComparing the four paintings in Figure 3, we may notice that Manet varies the character of the gaze<\/em><\/strong> connecting with the viewer significantly and changes the position on the stage<\/em><\/strong> of our four actors.<\/p>\n

Figure 3: Gazes and Positions in Manet\u2019s Painting – Four Different Cases
\n\"\"<\/p>\n

Actually, none of the gazes of the central figures has the somewhat evading expression often considered typical for Manet\u2019s subjects, the prime example for this gaze being the barmaid in Bar at the Folies-Berger\u00e9<\/em>.<\/p>\n

In Luncheon<\/em> we are offered a rather friendly if non-committing smile; in Olympia<\/em> the gaze is quite self-assertive keeping own dignity vis a vis the viewer in the possible role of a customer; in The Balcony<\/em> the dominant gaze (of Berthe Morisot) is not directed at us but into the public sphere; and in Jesus Mocked by Soldiers<\/em> the gaze of Jesus is clearly turned to his Father beyond the painting.<\/p>\n

In the following, we want to consider these differences in the character of gazes<\/em>, and we want to pay attention to the shifting position<\/em> of our actors and their gazes in the painting.
\nFor instance: in The Balcony<\/em> the position of the First<\/em> looking at us, the viewer, is shifted into the middle ground to the right; in Jesus Mocked<\/em> the First<\/em> moves even more toward the back.
\nStill, in both paintings we find our \u201ccrew of four\u201d in the formal scheme, and we should try to apply it and interpret the configuration.<\/p>\n

We have dealt with Luncheon on the Grass<\/em> now extensively. Since Manet appears to think and work in series of paintings experimenting with structural elements (see previous post), we should turn to the next in line. Actually, this should be Olympia<\/em> which he painted parallel to Luncheon<\/em> finishing it somewhat later.
\nI have chosen the rather unknown example of Jesus Mocked<\/em> which is the next painting in the series presenting a multi-person interaction, because Olympia<\/em> is already a special case inhabiting only two persons (and a cat).<\/p>\n

Remember, there are other kinds of paintings \u2013 still lives, portraits, larger settings, and sea- or landscapes.
\nBut Jesus Mocked by Soldiers<\/i> is the next multi-figure painting and candidate for the proposed \u201cformal scheme\u201d.
\nLet\u2019s try it out.<\/p>\n

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

Theatricality and social relations in Manet’s paintings<\/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":[225364],"tags":[313350,2365747,139670,301242],"class_list":["post-1491","post","type-post","status-publish","format-standard","hentry","category-manet","tag-objectivity","tag-social-relations","tag-subjectivity","tag-theatricality"],"yoast_head":"\nMy Manet - looking back and looking forward (13) - 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\/18\/elementor-1491\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"My Manet - looking back and looking forward (13) - 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