{"id":2910,"date":"2024-06-10T18:36:15","date_gmt":"2024-06-10T15:36:15","guid":{"rendered":"https:\/\/mymanet.net\/home\/?p=2910"},"modified":"2024-06-10T18:39:04","modified_gmt":"2024-06-10T15:39:04","slug":"post-29-the-absent-in-manets-painting-p29","status":"publish","type":"post","link":"https:\/\/mymanet.net\/home\/2024\/06\/10\/post-29-the-absent-in-manets-painting-p29\/","title":{"rendered":"The \u201cAbsent\u201c in Manet\u2019s Painting\u00a0 (P29)"},"content":{"rendered":"\n

After Manet spend about six months in a clinic being subjected to a therapy which he experienced as an \u201catrocious torture\u201d he painted an intriguing little Interior of a Caf\u00e9<\/em> (Richardson 1982, p.112). The scene Interior of a Caf\u00e9<\/em> follows several earlier works which Manet sketched and painted in 1878\/79
 – but it is strikingly different!<\/p>\n\n\n\n

Figure 1:  Three scenes in a caf\u00e9 by Edouard Manet <\/p>\n\n\n\n

       (A)     Caf\u00e9-Concert  (1878)              (B)    The Waitress  (1879)<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n
\n
\n

(C)\u00a0\u00a0\u00a0\u00a0 Interior of a Caf\u00e9 (1880-1)<\/p>\n<\/div>\n<\/div>\n\n\n\n

\"\"<\/figure>\n\n\n\n

While in the earlier paintings \u2013 like Caf\u00e9-Concert <\/em>or The Waitress<\/em> – Manet appears to be close and sympathetically \u201crubbing shoulders with his subjects\u201d (Rubin 2010, p.206), the Interior<\/em> is more detached, and the place exudes isolation, loneliness and absence. The empty chair to the right bears Manet\u2019s signature \u2013 certainly not a coincidence. And to the left, there is a strange, ghostly figure sitting at the table.<\/p>\n\n\n\n

The art historians Richardson and Rubin do not comment on this difference to earlier scenes; they interpret the painting as another example of Manet\u2019s engagement in modern life in Paris\u2019 caf\u00e9s. Both authors note, however, that a large mirror in the background seems to anticipate the mirror in A Bar at the Folies-Berg\u00e8re<\/em>.
As discussed in the previous posts, the Bar<\/em> may be interpreted as a personal retrospective on his works. The Interior<\/em> appears to sketch out some first ideas about his last masterpiece. If this is the case, we are encouraged to have a closer look at the Interior<\/em> in view of Manet\u2019s scheme as discovered in the Bar<\/em> in the previous posts. Once we \u201csee\u201d not only a loose sketch of people in a caf\u00e9, we \u201csee\u201d Manet exploring elements of his scheme, looking back, and preparing the Bar<\/em>.<\/p>\n\n\n\n

Some puzzling elements in the Interior <\/em>ask for an explanation. For instance:<\/p>\n\n\n\n

    \n
  • Why is the chair empty, or, who should we expect to sit there? Manet himself?<\/li>\n\n\n\n
  • The lady in the foreground seems to be looking at the gentleman at her table to the left. But is she? Her gaze is somewhat empty, not the least, because this figure is almost a \u201cghost\u201d \u2013 faceless, only indicated in blue-grey, and cut off by the frame.<\/li>\n\n\n\n
  • What is role of this \u201cghost\u201d in the painting? Is he looking at her or rather following the gazes of the other men to the right presumably looking toward the stage?<\/li>\n\n\n\n
  • Where is the waiter looking? Into the right side of the mirror or toward the stage? Is there a mirror?<\/li>\n<\/ul>\n\n\n\n

    Mysterious \u201cabsence\u201d (empty chair), \u201cdarkness\u201d (man at the table), and confusing mirror images (gaze of waiter) trouble the viewer when taking a closer look. Is this a scene which Manet was observing in a caf\u00e9 or are we confronted with a puzzle or composition playing with absent pieces?<\/p>\n\n\n\n

    First, let us take up the question of the mirror (Figure 1C above).
    The mirror in the middle ground \u2013 divided by a column to the right of the centre with a waiter standing next to it – is somewhat strange. It closes off the caf\u00e9 in the middle ground and, at the same time, opens up a view to a large room \u201cbeyond the mirror\u201d\u2013 actually behind the viewer – with what appears to be rows of visitors or an audience in a far background. Mirrors were (and still are) a common feature in caf\u00e9s and appear also in earlier paintings by Manet and others (e.g. Degas and Caillebotte). Still, the connection with the reflection in the Bar<\/em> \u2013 painted a year later – is suggestive. \u00a0\u00a0<\/p>\n\n\n\n

    On the left side<\/em> of the column,
    the mirror shows us the background behind the viewer standing apparently quite close to the woman and looking down on her. Like the gentleman at the table, the viewer would be placed toward the left edge and is not anymore reflected in the mirror, because the wall is not quite aligned with the picture plane. This creates a vanishing point far out to the right behind the stage and pulls the gaze of the viewer in that direction (black lines in Figure 2A).<\/p>\n\n\n\n

    Figure 2A.: Perspectives in the Interior of a Caf\u00e9<\/em> <\/p>\n\n\n\n

    \"\"<\/figure>\n\n\n\n

    The mirror seems to reflect the woman at the table supporting the impression of a mirror and suggesting a perspective in the interior as indicated in Figure 2A above. The mirror also shows an open space above the woman, presumably the open space in front of the stage on the right. But the reflection is strangely empty, almost an \u201cabyss\u201d (like in the Bar to the left of the barmaid and similarly indicating people at tables or on a balcony beyond).
    Strangely, the person in front of the mirror on a bench (to the right of the column at the edge of the painting) is not reflected in the mirror to the left of the column.<\/p>\n\n\n\n

    On the right side<\/em> of the column,
    the waiter and three sitting people appear to be looking at the event on stage beyond the frame. But where exactly are they sitting?
    The wall with a dark panel beneath the mirror on the left side does not continue on the right side. Instead, there are the rear benches with those people facing the stage. But the rear bench is not aligned with the perspective of the room as mirrored on the left side.
    In fact, the shading underneath the empty table suggests that the bench continues almost aligned with the wall (the angle in which the bench \u201cshould\u201d go is indicated by the dotted line and arrow in Figure 2A above).<\/p>\n\n\n\n

    This has the effect:
    If we focus on the right side of the painting, we don\u2019t seem to see a mirror at all! The three people in the audience to the right are not reflected.
    This again makes sense, since the gaze of the waiter is now unobstructed by any mirror and directed to the stage.
    But then the mirror on the left side is deceiving – or there is no mirror to the left either.<\/p>\n\n\n\n

    Manet is playing games with the perspectives and with the viewer by suggesting a mirror on the left side and an open view to the space in front of the stage on the right side.<\/p>\n\n\n\n

    Let us look at the problem of the mirror with the help of diagrams, keeping in mind that we don\u2019t know what the actual situation in this caf\u00e9 really was and what liberties Manet took in representing the scene.
    Our aim will be to learn something about the painting that helps us to understand its mediating role between previous caf\u00e9 scenes and the Bar<\/em>.<\/p>\n\n\n\n

    In Figure 2A above, we focus on the left side where the mirror reflects the woman identified by a greenish spot (her dress) and a black spot (her hat). Connecting the two faces we get a sense of the perspective (black lines) taking as a further lead the two columns and the white table the waiter is leaning on.
    Manet seems to place a vanishing point behind the face of the woman in the mirror locating the empty chair in the \u201cspotlight\u201d of her gaze from the mirror. The chair is turned toward her and seems to be \u201clooking back\u201d.
    The horizontal line gives further structure by connecting to the head of the waiter and of another gentleman on the far right.<\/p>\n\n\n\n

    An additional dynamic of the composition \u2013 indicated by red lines – leads the viewer\u2019s gaze to follow the gaze of the woman to the ghostly face on the left and then to the gaze of the waiter picking up the general direction of the gazes of the three patrons on the right toward the stage.
    We cannot be sure where the faceless \u201cghost\u201d is looking. His gaze may be directed at the woman, instead, but the viewer is clearly induced to move his or her gaze along this trajectory.<\/p>\n\n\n\n

    Figure 2B: Dimming the left mirror in the Interior <\/em><\/p>\n\n\n\n

    \"\"<\/figure>\n\n\n\n

    In Figure 2B, I have dimmed the left mirror. Now the view on the right becomes ambiguous as pointed out above. The gaze of the waiter, the large figure with the top hat, the backside of the benches, all seem to indicate that we look directly into an open space in front of the stage \u2013 not into a mirror continuing from the one on the left. But this would be incongruous with the image in the left mirror and the indication of a row of visitors running across the background of the painting.<\/p>\n\n\n\n

    Figure 2C: Dimming mirrors on both sides of the column in the Interior<\/em> <\/p>\n\n\n\n

    \"\"<\/figure>\n\n\n\n

    In Figure 2C, I have tried to amplify this point by dimming also the right mirror. Now it becomes apparent that the patron on the far right would be sitting this side of the mirror while the other two are reflections.
    The problem is that the person on this side is not reflected in the mirror. Moreover, he is cramped into a tight space next to the mirror because the bench does not follow the perspective; the angle (arrow) is too small. Additionally, the white light beneath the table pushes the yellow bench clearly to the back, more aligned with the dark panel on the left. <\/p>\n\n\n\n

    All this supports the dynamics of the red trajectory, but it makes the mirror images and perspectives of the caf\u00e9 inconsistent.<\/p>\n\n\n\n

    Figure 2D: The “real” scene in the Interior <\/em>(with dimmed mirrors)<\/p>\n\n\n\n

    \"\"<\/figure>\n\n\n\n

    In Figure 2D, keeping the dimmed mirrors, we see (with the help of some rough photoshopping) what the situation \u201creally\u201d might have been.
    Now the bench follows the perspective, the patron to the right has some space and is reflected in the left mirror as a shade above the women\u2019s head. Underneath the table we see the bench angling out into the room.<\/p>\n\n\n\n

    But this \u201creality\u201d comes with a cost. The right mirror is closing off the background to the right more effectively, blocking the gaze of the waiter on the other men. His gaze loses some of its force, since the gaze of the \u201cghost\u201d is now more likely to follow the gaze of the patron to the right towards the stage on this side<\/em> (red line). And perhaps most importantly, the table with the empty chair loses much of its dominant position, cramped up next to the bench.<\/p>\n\n\n\n

    So, it seems that Manet knew what he was doing when he created an ambiguous right side, neglected the laws of perspective, put the empty chair in a \u201cspotlight\u201d, and supported a dynamic trajectory in the composition toward a stage somewhat \u201cbeyond the mirror\u201d.<\/p>\n\n\n\n

    The point here is not to demonstrate that Manet manipulates perspective to create a compositional effect; we saw this in other paintings.
    The point is that these elements \u2013 mirrors playing with perspectives and with gazes of persons including the viewer, introducing “ghostly” figures, leaving and \u201cabyss\u201d in front of a stage beyond the picture frame – \u00a0resurface in the A Bar at the Folies-Berg\u00e8re<\/em>. This makes the little Interior<\/em> a work mediating between the previous caf\u00e9 paintings focusing on modern life and his final masterpiece reflecting on his work in a multi-layered composition.
    This means, moreover, that it is meaningful to apply Manet\u2019s scheme to the Interior,<\/em> and to identify the triad of persons (First, Second, Third<\/em>), the Other<\/em>, and the Big Other<\/em> beyond the picture space (see Post 26).<\/p>\n\n\n\n

    Obviously, the First<\/em>, looking at and engaging the viewer is missing \u2013 there is an empty chair!
    Considering that Manet typically engages the viewer, like in \u201cThe Waitress\u201d in Figure 1 above, this is surprising and invites the interpretation that Manet sees himself \u201cmissing\u201d and missing “looking at the viewer” in painting. After the stay in the clinic, he realizes that soon he will not be able to enjoy the bars and caf\u00e9s with his friends anymore.<\/p>\n\n\n\n

    The Second<\/em>, the person looking across the picture space and establishing the social space, is clearly the woman in the foreground. But \u2013 unlike the man on the right in the triad in Luncheon on the Grass<\/em> gesturing to the other two \u2013 she has only a ghostlike figure sitting at her table.
    She is turning her back to the empty chair, isolating it further by her own position left of the centre . Her connection with the missing First<\/em> is only indirectly by way of her mirror image located at the source of the \u201cspotlight\u201d on the empty chair.
    Her unfocused facial expression only motivates the viewer to follow her gaze to the “ghost” and to the waiter\u2019s gaze who seems to be attracted by the event on stage.<\/p>\n\n\n\n

    Even more puzzling is the role of the Third<\/em>, the person directing his gaze beyond the picture space toward the Big Other<\/em>, the external \u201cauthority\u201d in Manet’s scheme.
    In effect, the \u201cghost\u201d and the waiter share this position creating the red trajectory across the painting toward the stage beyond.
    But this trajectory is unstable, as we have seen above. The origin of the Third’s <\/em>gaze in a faceless \u201cghost\u201d makes us wonder if Manet is not only missing his life as a painter engaging with the viewer, but also missing the \u201cauthority\u201d of painting which he always saw in the tradition of art. The gaze of the Third<\/em> is now directed toward a stage which exists in an insecure space of conflicting mirror reflections.<\/p>\n\n\n\n

    Finally, the position of the Other,<\/em> looking from the back at the triad, is taken by the mirror image of the woman. This element we find, in almost the same position, in the Bar <\/em>(Post 26). This supports the interpretation of the Interior<\/em> as an experiment with ideas for the Bar<\/em>.<\/p>\n\n\n\n

    Returning to the questions above, we see how \u201cabsence\u201d dramatically enters his work. It has been characteristic of his paintings by the openness of his compositions reaching beyond the picture space toward the viewer and other implied presences. It often found expression in the absent gaze of protagonists in his paintings. But now under the impact of deteriorating health the place from which he establishes the contact to his viewers \u2013 the gaze of the First<\/em> – is empty.
    After the Prussian-French War (1970-71) we can observe how Manet experiments with fewer actors in his scheme. We will return to these works in following posts. But now he is almost dissolving his characters in \u201cmissing\u201d and \u201cghostly\u201d figures turning away from each other in an ambiguous space. I find this little Interior<\/em> somewhat depressing and expressing his deep sadness, while his final masterpiece – aimed to establish his position in the tradition of art – demonstrates his self-confidence as an artist.<\/p>\n\n\n\n

    The \u201dghostly\u201d greyish figure and the imposing dark area behind the figures at the table remind us of another aspect in Manet\u2019s work, the \u201cdark\u201d and \u201cmysterious\u201d elements which seem to emerge from a \u201cdark backstage\u201d (see Post 28). We will turn to the \u201cDark\u201d in Manet\u2019s painting in the following post.<\/p>\n\n\n\n

    See you soon again!<\/p>\n\n\n\n

                               <\/p>\n","protected":false},"excerpt":{"rendered":"

    After Manet spend about six months in a clinic being subjected to a therapy which he experienced as an \u201catrocious torture\u201d he painted an intriguing little Interior of a Caf\u00e9 (Richardson 1982, p.112). The scene Interior of a Caf\u00e9 follows several earlier works which Manet sketched and painted in 1878\/79 – but it is strikingly different! […]<\/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":[748385219,18396,748385218],"class_list":["post-2910","post","type-post","status-publish","format-standard","hentry","category-manet","tag-absence","tag-composition","tag-manets-bars"],"yoast_head":"\nThe \u201cAbsent\u201c in Manet\u2019s Painting\u00a0 (P29) - 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\/2024\/06\/10\/post-29-the-absent-in-manets-painting-p29\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The \u201cAbsent\u201c in Manet\u2019s Painting\u00a0 (P29) - My Manet \u2013 Your Manet\" \/>\n<meta property=\"og:description\" content=\"After Manet spend about six months in a clinic being subjected to a therapy which he experienced as an \u201catrocious torture\u201d he painted an intriguing little Interior of a Caf\u00e9 (Richardson 1982, p.112). 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