{"id":2046,"date":"2022-02-28T04:47:22","date_gmt":"2022-02-28T02:47:22","guid":{"rendered":"https:\/\/mymanet.net\/?p=2046"},"modified":"2023-05-27T23:00:54","modified_gmt":"2023-05-27T20:00:54","slug":"elementor-2046","status":"publish","type":"post","link":"https:\/\/mymanet.net\/home\/2022\/02\/28\/elementor-2046\/","title":{"rendered":"A Bar at the Folies-Berg\u00e8re – Manet’s Scheme in the Mirror (26)"},"content":{"rendered":"

The \u201c12 Views\u201d of  A Bar at the Folies-Berg\u00e8re<\/em>  (Collins 1996) discussed in the previous Post 25 had two topics in common:
\nthe role of the barmaid as picturing Manet\u2019s view of women in Parisian society and the spatial inconsistencies or violations of perspectives caused by the mirror.<\/p>\n

But there are other aspects which are neglected or featuring less prominent in the discussion.<\/p>\n

Let us consider some of these aspects taking a fresh look at the painting
\nand a sketch in Figure 1.<\/p>\n

Figure 1:  Edouard Manet<\/p>\n

A Bar at the Folies-Berg\u00e8re<\/em>  (1882) and Sketch for A Bar at the Folies-Berg\u00e8re<\/em> (1881)<\/p>\n

\"\"<\/p>\n

First question:<\/p>\n

Disregard for correct perspective is not a new feature in Manet\u2019s paintings.
\nBut why using a mirror<\/em> to close up the background rather than a curtain, a wall or a dark space or some other partitioning as in previous paintings?<\/p>\n

Staging the figures in a limited \u201cflattened\u201d space \u2013 in a \u201cpuppet theatre\u201d \u2013 and leaving the viewer in a shifting position in front of the scene \u2013 that is a feature which is characteristic of Manet\u2019s scheme as proposed in MyManet<\/em>.
\nBut, using a mirror – which is typically used to open up<\/em> a space \u2013 to close off<\/em> the scene in the back is counterintuitive. We should think that it simply does not work. It does in this painting.<\/p>\n

The viewer is fully aware that the barmaid is standing in a very narrow space between the bar and the mirror. Manet is moving the balcony on the left side forward like in a magnifying mirror, as Flam (166) observes, and he uses a loser, impressionistic brushwork painting<\/em> the background.
\nThe black back of the reflected barmaid effectively closes off the view on the right side (an effect not achieved in the sketch!).<\/p>\n

Using the mirror in ways obviously violating optical laws creates problems for his realistic style.
\nWhy is Manet inviting doubts about his realism?<\/em><\/p>\n

Second question:<\/p>\n

The barmaid reflected in the mirror seems to be a different<\/em> woman.<\/p>\n

The mirror image has rather loose hair while the barmaid has her hair tightly pulled back. Flam (166) even suggests that she might have a ponytail. The cheeks of the mirror image seem to be rounder, her waist somewhat fuller, and her posture leaning forward and more attentive and friendly to the customer – if not inviting and \u201ceager to please\u201d (Flam 167).<\/p>\n

But, does she look more<\/em> like a casual prostitute than the barmaid confronting the viewer with her tight waist and low neckline, as many interpretations suggest?
\nOr is this a view following from an assumption that the gentleman in the mirror surely must be a potential customer?
\nAs L\u00fcthy (2003, 164) observes: In interpretations that follow T.J. Clark\u2019s focus on prostitution in Paris at the time, it seems that \u201cthe interpreter approaches Manet\u2019s painting like the customer the counter\u201d trying to find out whether she is a prostitute or not (own translation).
\nIs Manet – perhaps critically – presenting the \u201cmale gaze\u201d or is he playing with the expectations of the viewer?<\/em><\/p>\n

Third question:<\/p>\n

The viewer seems to be standing at a comfortable distance  from the barmaid
\n(about 2m following Flam).
\nHowever, the gentleman in the mirror is uncomfortably close leaning over the counter and looking down into the eyes of the woman. He is scaled a little too large and looming in the upper corner at a position which does not correspond to any possible place in front of the barmaid.
\nIt is not even clear whether she is returning his gaze or looking somewhere through and beyond him. (Both facts are somewhat at odds with the interesting interpretation of Duve – see Post 25.)<\/p>\n

In the sketch for the Bar<\/em> in Figure 1, a smaller customer is positioned lower and looking up to the barmaid looking down on him. Their gazes in the mirror seem to meet. The barmaid herself is looking to a place to the right of the viewer where the gentleman actually may stand.
\nWhy the changes?<\/em>
\nWhy is the barmaid in the final version looking toward the viewer but avoiding eye contact?
\nWhy is the mirror image of the assumed customer now moved into an implausible position in the upper right corner?<\/em><\/p>\n

Fourth question:<\/p>\n

In the final version, the left side is on closer inspection a confusing collage of detached elements:
\n– The balcony is too close compared to the right side (compare also the width of the columns);
\n– the legs of the artist on the trapeze are too small and certainly not above the stage;
\n– the counter with bottles in the mirror is floating in the air;
\n– the balcony appears to be zoomed in to avail a better look at the people on the other side.
\nArt historians have identified the three women sitting around an empty chair, two looking toward the stage to the left, one seems to look at the viewer.
\nA fourth person, a gentleman with a black moustache, looks similar to the gentleman in the upper right corner and he seems to direct his gaze at the barmaid (or the viewer\u2019s back).<\/p>\n

Manet is clearly citing people he knows. We see a \u201clittle cabinet of perspectives\u201d  (L\u00fcthy p.178) in the focus of the left side.
\nHow should we explain this grouping and the direction of their gazes?<\/em><\/p>\n

So, what to make of these questions in view of MyManet<\/em> and applying Manet\u2019s scheme?<\/p>\n

As a starting point, the painting has been described as a \u201ctestament\u201d by several authors.
\nIf it is true that Manet is looking back and citing many of his important paintings, and
\nif MyManet<\/em> is capturing with Manet\u2019s scheme some relevant feature of his work,
\nthen we should find aspects of his scheme in the composition of the Bar<\/em>.<\/p>\n

On first sight, this is not really promising:<\/p>\n

There is only one figure in the painting \u2013 and two or more reflections.
\nManet\u2019s scheme as developed in discussing the Luncheon on the Grass<\/em> (1863) provides for four positions and gazes within the painting (see Post 9 and 24):<\/p>\n

The First<\/em>      \u2013 looking at the viewer:
\n\u201cseeing being seen\u201d by the viewer<\/p>\n

The Second<\/em> \u2013 looking at someone within the picture space supporting the internal \u201cstage\u201d:
\n\u201cbeing seen seeing\u201d by the viewer<\/p>\n

The Third<\/em>     \u2013 looking out and beyond the picture space:
\n\u201cseeing without seeing being seen\u201d by some other<\/p>\n

The \u201cOther<\/em>\u201d \u2013 looking from the back:
\nseeing from a position other than the viewer.<\/p>\n

The barmaid is clearly puzzling since she is not really looking at the viewer.
\nIf anything, she is gazing at some unidentified spot beyond the viewer – seeing without seeing being seen.
\nThis would qualify her for the position of the Third<\/em>.
\nAn example of this variation of the scheme we found in Breakfast in the Atelier<\/em> with the young man standing very up front and looking past the viewer (Post 18 and 19).
\nThe couple reflected in the mirror would have to take the role of the First<\/em> and the Second<\/em>.
\nBut that seems quite a stretch for the scheme.
\nThe woman in the mirror as the First<\/em> (seeing being seen) would use the mirror and look backward<\/em> at the gentleman who takes the role of the viewer in front of the painting.
\nConceivable; however, this leaves us without the Second<\/em>.<\/p>\n

The gentleman in the mirror seems to meet the gaze of the barmaid in the role of the First<\/em>, establishing a relation between her and the viewer<\/em> represented by him.
\nFor the role of the \u201cOther<\/em>\u201d, looking at the scene from the back, he is clearly much to close to her.
\nThe \u201dOther<\/em>\u201d could be identified readily in the mirror on the balcony to the left.
\nEspecially the gentleman with the moustache, as Flam (166) describes him, is literally looking from the back onto the scene.<\/p>\n

Thus, to satisfy Manet\u2019s scheme we need an interpretation for the missing Second<\/em>.
\n(Somewhat like Sherlock Holmes and the dog that did not bark<\/em>.)<\/p>\n

For a solution, we consider the role of the couple in the mirror again.<\/p>\n

What if their role is just to provide the viewer with a clue on how to \u201cread\u201d the painting and to see<\/p>\n

the painting that Manet did not paint <\/b>?<\/em><\/p>\n

 <\/em>What is the clue?<\/p>\n

Manet clearly invites the viewer to take the position of the gentleman in the mirror and to see what he is seeing.<\/em><\/p>\n

Basically, that means that the entire scene is turned around and the reflected viewer is now in the position of the \u201creal\u201d viewer looking into the eyes of the barmaid who is gazing at him. The \u201creal\u201d barmaid will turn into the mirror on the left side looking toward the back. The \u201creal\u201d viewer will take a position in the mirror to the left, only that \u2013 keeping his distance from the barmaid \u2013 her reflection will appear more behind the barmaid in the centre.<\/p>\n

The new \u201cpainting not painted\u201d would look somewhat like in Figure 2 !<\/p>\n

Figure 2:    \u201cThe painting not painted\u201d:
\nThe original painting and the Bar<\/em> seen with the eyes of the man in the mirror<\/p>\n

\"\"<\/p>\n

The \u201cnew\u201d painting is actually based on mirroring the original painting vertically<\/em>,
\nthus, it combines a mirror image \u2013 like in a lithograph, an operation quite familiar to Manet – with the turning around of positions.<\/p>\n

Some \u201cphotoshopping\u201d is also needed. The waist of the barmaid is adapted and a ponytail introduced (following Flam). Most importantly, the face of the friendly barmaid has to be inserted. I took the liberty of utilizing the face of Manet\u2019s favourite model of his earlier period \u2013 an undated portrait of Victorine Meurent.<\/p>\n

But why using a reflection of the painting<\/em>?<\/p>\n

Unlike the small angle assumed in Duve\u2019s interpretation (see Post 25) turning of the mirror<\/em> \u2013 we now assume an almost 180 degrees turning of the painting and moving the position of the viewer<\/em>. Duve wants to explain the positions of the two figures within<\/em> the painting (barmaid and customer) keeping the place of the viewer<\/em> fixed. This is still a meaningful layer of interpretation.<\/p>\n

Given the positions, however, MyManet<\/em> tries to explain:
\nWhy are the mirrored figures painted as they are?<\/em>
\n\u2013 clearly not<\/em> as realistic reflections of the figures assumed in front of the mirror, as Duve implies.<\/p>\n

Now, if we apply Manet\u2019s scheme to the \u201cpainting not painted\u201d – it works!<\/p>\n

In Figure 2, we see the missing Second<\/em> now impersonated by the (imagined) former viewer.
\nThe barmaid is perfect in the role of the First<\/em> leaning slightly forward and engaging the viewer.
\nThe \u201cOther<\/em>\u201d, the gentleman on the balcony, has switched sides, but is still onlooking.
\nThe Third<\/em>, the mirrored barmaid, in this variation is looking somewhere off to the back. She is \u201cseeing without seeing being seen by some other\u201d.
\nThis is a variation in the direction of the gaze compatible with the scheme. And we still have the original barmaid with her evasive gaze in front of us (reminding us of the Third<\/em>) when we – as viewer – imagine looking with the eyes of our reflection in the mirror.<\/p>\n

Revealing the role of Manet\u2019s scheme in the composition supports interpretations of the painting as a \u201ctestament\u201d. It is not only citing previous own paintings but also revitalizing and creatively developing a basic compositional scheme.
\nAlready since Olympia<\/em> (1865) \u2013 as demonstrated in Post 17 \u2013 Manet has applied variations of the scheme with fewer figures. In the 70ies, after The Balcony<\/em> (1868), he has used the scheme only partially in paintings with two figures (for instance,  Nana<\/em>). We will have a look at the major paintings in the 1870ies in following posts to see the continuing influence of the scheme.<\/p>\n

Here, in A Bar at the Folies-Berg\u00e8re<\/em>, Manet goes one step further and ingeniously \u2013 so the view of MyManet<\/em> \u2013 applies the scheme with only one central figure and with a counterintuitive use of a mirror to set the \u201cstage\u201d.<\/p>\n

The view that Manet is searching in the Bar<\/em> for a new and innovative variation of his scheme can explain some of the changes from the study to the final version (Figure 2).<\/p>\n

Moving the barmaid in the centre and giving her this famous avoiding gaze is designed to radicalize the attempt from Breakfast in the Atelier<\/em> placing the Third<\/em> front and centre – this time as the only \u201creal\u201d figure.
\nAlready in the Atelier<\/em>, we interpreted the gaze of the young man as looking into his open future. The role of the Third<\/em>, more generally, signifies in the scheme the orientation to some \u201cauthority\u201d outside the picture space.
\nBoth aspects gain obvious significance in a painterly \u201ctestament\u201d by a painter expecting his death.
\nWith the gaze of the barmaid directed somewhere passed the viewer, the right side of the study (Figure 4) does not work anymore. Manet had to find a new solution which preserves credibility as a realistic painting, at least on first sight, and which allows for the application of the scheme to the other figures.
\nThe result is the juxtaposition of a painting with a \u201cpainting not painted\u201d.<\/p>\n

The study and the first impression of the final version do not conform to the scheme,
\nbut a viewer accepting the invitation to imagine looking through the eyes of his (or her) \u201cimpersonator\u201d in the mirror will have the benefit of seeing the scheme \u2013 an important element of his \u201ctestament\u201d.<\/p>\n

But there is another clue on the left side. One is tempted to say, for those of us (including me) who do (or did) not readily recognize the clue on the right side pointing to the presence of Manet\u2019s scheme.
\nInterpreters typically focus on the figures on the balcony only as representing friends and colleagues.
\nThe \u201clittle cabinet of perspectives\u201d (L\u00fcthy p.178), however, can also be seen as a citation of Manet\u2019s scheme!<\/p>\n

The empty chair creates a space distinguishing the three adjoining figures.
\nThe figure to the left reminds of Berthe Morisot in The Balcony<\/em> posing for the Second<\/em> (although she has been identified as another friend of Manet\u2019s);
\nthe figure to the right is citing a painting by Mary Cassat, and she is using her opera glass to stare beyond the picture space \u2013 a candidate for the role of the Third<\/em>;
\nthe woman in the next row (clearly accentuated by the empty chair) is looking straight at the viewer \u2013 taking the role of the First<\/em>.
\nThe gentleman to the far left plays already the role of the \u201cOther\u201d but – given his reflection – he can also be seen as doubling as an \u201cOther\u201d in the \u201clittle cabinet\u201d. (The lady and the gentleman could change roles as First and \u201cOther\u201d, but I think that the empty chair is meant to join the lady to the triad.)<\/p>\n

The complex composition is summarized in the diagram in Figure 3:<\/p>\n

Figure 3:       Diagram of the scheme in A Bar at the Folies-Berg\u00e8re<\/em><\/p>\n

\"\"<\/p>\n

On the left and centre, now we see Manet\u2019s scheme with the roles of the First<\/em>, Second<\/em> and Third<\/em>. Additionally, the shifting position of the viewer is indicated. In the original, the viewer is induced to move slightly from the centre to the right trying to align with the mirror image within the painting. In the \u201cpainting not painted\u201d, the viewer is motivated to shift to the left as indicated in the diagram.
\nThis shifting from outside to inside and from right to left will motivate the viewer (if he or she is trying to solve the puzzle)  to look \u201cfrom the side\u201d on the level of the mirror plane \u2013 a position supporting identification with the Second<\/em> and establishing the picture space.
\nOn the right side, we see the \u201clittle cabinet\u201d reminding of the scheme and the \u201cOther\u201d doubling inside and outside the painting.
\nBesides the painterly challenges of using a mirror as a background, Manet has solved the problem of staging his 4-figure scheme within a painting featuring essentially one figure.<\/p>\n

Two questions (1 and 2) are still open from our list above:<\/p>\n

Manet is playing games with the \u201cmale gaze\u201d.
\nIn view of the \u201cpainting not painted\u201d, is there a clue that there is also a \u201cfemale gaze not painted\u201d?<\/p>\n

And:<\/p>\n

Manet seems to put into question a realistic interpretation more radically than in any previous painting.
\nThis is especially troubling in the case of the looming face of the gentleman placed in the upper right corner.
\nShould we reassess Manet\u2019s self-claimed position as a realist?<\/p>\n

Good questions, but let us address them in the next post.<\/p>\n

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

Mirroring the Mirror in “A Bar at the Folies-Berg\u00e8re”: Manet’s 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":[748385195,156853,748385127,93275],"class_list":["post-2046","post","type-post","status-publish","format-standard","hentry","category-diagram","category-manet","tag-a-bar-at-the-folies-bergere","tag-diagram","tag-manets-scheme","tag-mirror-image"],"yoast_head":"\nA Bar at the Folies-Berg\u00e8re - Manet's Scheme in the Mirror (26) - 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\/2022\/02\/28\/elementor-2046\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"A Bar at the Folies-Berg\u00e8re - 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