{"id":1803,"date":"2021-10-08T02:02:24","date_gmt":"2021-10-07T23:02:24","guid":{"rendered":"https:\/\/mymanet.net\/?p=1803"},"modified":"2023-05-28T00:01:49","modified_gmt":"2023-05-27T21:01:49","slug":"more-on-manets-enigma-the-breakfast-in-the-atelier-p19","status":"publish","type":"post","link":"https:\/\/mymanet.net\/home\/2021\/10\/08\/more-on-manets-enigma-the-breakfast-in-the-atelier-p19\/","title":{"rendered":"More on Manet’s Enigma – Breakfast in the Atelier (P19)"},"content":{"rendered":"

Manet\u2019s Breakfast in the Atelier<\/em> is still fascinating me \u2013 and I got hold of another source with new insights.
\nSo, The Balcony<\/em> \u2013 which I planned for today – must wait until next time.<\/p>\n

In the previous post on the \u201cEnigma\u201d of Breakfast<\/em>, I distinguished between a content level and a design level. There are, obviously, many more levels of interpretation.<\/p>\n

To acknowledge the complexity of this painting, I should complement the view of MyManet<\/em> with additional levels or layers of meaning.<\/p>\n

Figure 1:  The viewer\u2019s gaze moving over the Breakfast in the Atelier  <\/em>(1868)<\/p>\n

\"\" <\/em><\/p>\n

Some layers are more connected to the design<\/em><\/strong> of the painting \u2013 the order of elements.
\nIn Figure 1, I tried to indicate how Manet is directing the viewer\u2019s gaze over the picture space \u2013 at least my gaze.
\nThe gaze of other viewers may roam differently, but I think my reaction is not totally missing what Manet intended.<\/p>\n

I return to Figure 1 shortly.<\/p>\n

Some layers are created by the content<\/em><\/strong> associated with the figures and requisites shown.
\nPresumably, there are \u201chidden\u201d meanings \u201cbetrayed\u201d by what is depicted, such as an allegory of painting or an underlying \u201cfamily drama\u201d.<\/p>\n

Let us return to Figure 1 and look at the design:<\/p>\n

The painting is troubling for the viewer showing a lot of figures and things which seem to be quite arbitrarily assembled.
\nBut there is some order \u2013 not the least by the way the viewer will try to \u201cread\u201d the painting (and Manet will lead the viewing):<\/p>\n

Obviously, the boy on frontstage<\/em> is capturing the viewer\u2019s gaze first.
\nHowever, the boy is ignoring the viewer. This is not very polite and, additionally, he is almost stepping out of the painting violating the personal space of the viewer.
\nSo, we might step back, and – in a second attempt – turn to the maid in the background<\/em>.
\nAfter all, she is looking at us returning our gaze. We are invited to come closer again, but there still is that boy with that dominating black jacket. Avoiding his presence, we might step back again and look to the right to the brightly illuminated table with the breakfast. Instinctively, we step closer, since the lemon is almost dropping from the table \u2013 we have to catch it!
\nThis way, we approach the man looking to the left side of the painting.<\/p>\n

So, stepping back again – and easing our way around the boy \u2013 we look also to the left side.
\nHere the white flowerpot with its \u2013 somewhat “out of place” Japanese decoration \u2013 catches our attention. It is way in the background<\/em>, but we don\u2019t step closer because it is somehow looming large (\u201cfacing\u201d us) keeping us at bay.
\nTrying to bridge the void in the middle ground<\/em>, we focus on the still life on frontstage<\/em>, and we are amazed and puzzled by this theatrical arrangement ad odds with the Japanese flowerpot.
\nAre we in an atelier or at a breakfast table?
\nThen, we discover the black cat \u2013 and we realize we are looking at a painting by Manet, the painter with the black cat!<\/p>\n

O.K., now we know that this must be an allegory of Manet reflecting on painting.
\nKnowing that he loves citing painting traditions and his own works, we start the \u201ctreasure hunt\u201d of the art historian, and we will find a lot of elements referring back to other paintings.<\/p>\n

One of the observations I like very much is offered by Richardson (1982):
\nBehind the back of the boy, there is a diagonal connecting the Dutch looking maid and the still life in the Dutch tradition on the table (also citing an own painting). There is another diagonal leading from the romantic smoker (Richardson) to the assemble of theatrical requisites on the front left (again citing own still lives and the puppet theatre).
\nRichardson also points out that this retrospective painting is produced when Manet recovered from a period of \u201cself-doubt and gloom\u201d (p. 17). This explains the self-reflection in the painting.<\/p>\n

Our view of the painting moved from a first, somewhat disoriented, impression of complexity (level 1) to reading more and more order into it \u2013 following the way our gaze is directed (level 2) – and, then, associating the meaning of elements with Manet\u2019s work (level 3).
\nWe also experienced \u2013 if you followed my experience \u2013 that not only roamed our eyes over the picture space. The eye movements even induced a \u201cdance\u201d stepping back and forth and sideways trying to engage with different elements.
\nA great example for how Manet is engaging the viewer!<\/em><\/p>\n

On yet another level, the view of MyManet<\/em> suggests seeing the painting as a variation on Manet\u2019s scheme. This was the theme of the previous Post 18.<\/p>\n

This level, I like to enrich with two insights gained from my new source, \u201cmoments of thought\u201d which Werner Hofmann (1985) devoted to Breakfast in the Atelier<\/em>.<\/p>\n

First<\/em>, Hofmann shows an x-ray of the painting which indicates some interesting changes made after the first draft.
\nMost commentators point out that the scene originally played out at his summer resort at the sea in an atelier with large windows in the background. Returned from the resort, Manet closed this background with a wall and with a painting (to the right) creating a more domestic ambience. This domestic flair is further supported by introducing the maid in the final version who may be serving some milk (in a can bearing the letter “M”).
\nMore important in view of MyManet<\/em>, with her, the role and position of the First<\/em> looking at the viewer is entering the painting. Back home in Paris, we might say, he re-conceived the painting in terms of his scheme!<\/p>\n

Another important change occurs to the smoker to the right.
\nIn the draft, he is looking more at the back of the boy (and along the diagonal toward the weapon still life). Now his hand is moved somewhat between him and the boy and his gaze is directed across the middle ground to the left.
\nWith the introduction of the First<\/i><\/b>, the maid, in the background, and with the Third<\/i><\/b>, the boy in the foreground, Manet now covers the middle ground with the gaze of the Second<\/b><\/i>, the smoker.
\nThese changes enhance the \u201cdance\u201d of figures over the \u201cstage\u201d and make the viewer \u201cdance\u201d in response!<\/p>\n

Second<\/em>, another observation by Hofmann concerns the gaze of the boy.<\/p>\n

This insight, I like to relate to the interpretation of Nancy Locke (2001). She chooses a psychological reading of the painting starting with the fact that Leon is the illegitimate son of Manet (or of Manet\u2019s father?). According to her, there is a \u201ctone of estrangement\u201d (p.131) in the painting. This estrangement gains momentum when we identify the man to the right with Manet himself and the maid with the mother, Suzanne, a Dutch woman! Then the boy will turn his back to a situation of illegitimate childhood and look into a yet indeterminate future adulthood.<\/p>\n

This is certainly an own and important layer in the interpretation. She adds another layer by pointing out that Manet had himself a very problematic relationship to his father. Only after his father\u2019s death in 1862, Manet \u2013 somehow liberated \u2013 had his breakthrough in painting. In this view, we might even see Manet\u2019s parents looming behind the vision of Manet and Suzanne as suggested on the previous layer.
\nLocke is exploiting here the theme of the father-son relationship and its psychoanalytic significance.<\/p>\n

And Locke takes still another turn with the theme of father-son relations. She connects the Breakfast<\/em> with Manet\u2019s religious paintings. According to her, Manet\u2019s paintings of Christ are variations on his relation to his father: \u201cManet paints a gaze that expresses the difficulty of accepting the will of the Father\u201d (p. 139).<\/p>\n

In view of MyManet<\/em>, this is a very interesting way of interpreting the gaze of the Third!
\nWe suggested a similar interpretation for the gaze of Christ \u2013 the role of the Third<\/em> – in Christ Mocked by Soldiers<\/em> (see Post 14).<\/p>\n

Locke proposes a psychological interpretation of the Third. S<\/i>he somewhat abruptly changes between paintings \u2013 from Breakfast<\/em> to Christ Mocked<\/em>, from Leon as Third<\/em> looking at his \u201cfather\u201d to Christ as Third <\/em>looking at his \u201cFather\u201d. Leon is not looking at his \u201cfather\u201d at the breakfast table, unless we follow the interpretation of Gisela Hopp (1968). She sees the boy daydreaming and imagining the very scene pictured behind him.
\nSo, the connection is the more general theme of the internal conflicts of a father-son relation and the role of the “father” as an internalized authority.<\/p>\n

Figure2:  From \u201clooking out\u201d to \u201clooking without seeing\u201d
\n\u2013 Manet\u2019s portraits of Leon and the \u201ciconic barmaid\u201d<\/p>\n

\"\"<\/p>\n

Hofmann offers an interpretation which is less psychological and more rooted in the tradition of religious painting.
\nWith the loss of religious convictions, the gaze toward a meaningful agent beyond all sensory experiences loses its \u201ctranscendental axis\u201d (p.79). The gaze of \u201clooking without seeing<\/i><\/b>\u201d does not express security in faith anymore but alienation and individual isolation. Hofmann sketches this development  since the 15th century with some fascinating examples. With the loss of the (religious) narrative, the figures become \u201cicons\u201d of the human condition in modern society.<\/p>\n

In Figure 2, we can see how Manet in his own work changes the view on Leon from the child posing in a \u201cSpanish\u201d painting to the realistic view of him in the drawing. Then – in Breakfast<\/em> \u2013 we see the \u201cturn to the icon\u201d (Hofmann). The boy is not just depicted like we \u201csee\u201d him but shown as an \u201cicon\u201d representing how it is to \u201cexist\u201d in the situation of a boy on the threshold to adulthood.
\nTo highlight his point, I have added the famous \u201cicon\u201d of Manet\u2019s \u201clooking without seeing\u201d \u2013 the barmaid in his A Bar at the Folies-Berg\u00e8re<\/em> (1882).<\/p>\n

In view of MyManet<\/em>, I like this interpretation of Manet\u2019s figures as \u201cicons\u201d of the human condition. It is a meaningful way of capturing Manet\u2019s scheme as a \u201csocial form\u201d assigning roles and positions. The Third<\/em> \u201clooking without seeing\u201d is not focusing attention on \u201cwhat one sees\u201d but experiencing \u201cwhat exists\u201d (see Post 10 on Manet\u2019s realism). Following Locke (and Sigmund Freud), we can agree that the realities of psychological conflicts in family relations are also exactly that: existing realities.<\/p>\n

However, we have to come back in a later post to the social dimension of the scheme.
\nFor Manet, the human condition was not so clearly characterized by individualism and isolation as Hofmann and later expressionistic and existentialist visions of modernity would see it.
\nManet still believed in tradition and institutions – submitting his paintings to the official Salon – and he infused his figures with the energy of a social existence and awareness (see previous post) that united them beyond their individual subjectivity.<\/p>\n

Last comment: With all those reflections on the father-son relation, we seem to have lost the female perspective. In Breakfast<\/em>, the female plays only an \u201cassistive\u201d role (Hofmann) in the background and is painted rather undefined.
\nThat changes clearly in the next painting! In The Balcony<\/em>, females are frontstage<\/em>.<\/p>\n

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

Following the viewer’s gaze in “Breakfast in the Atelier”<\/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":[748385132,156853,24501130,748385202,428817],"class_list":["post-1803","post","type-post","status-publish","format-standard","hentry","category-diagram","category-manet","tag-breakfast-in-the-atelier","tag-diagram","tag-father-son-relation","tag-gaze-of-the-viewer","tag-human-condition"],"yoast_head":"\nMore on Manet's Enigma - Breakfast in the Atelier (P19) - 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\/10\/08\/more-on-manets-enigma-the-breakfast-in-the-atelier-p19\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"More on Manet's Enigma - 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