“Bar at Folies Bergere” ( fr. Un bar aux Folies Bergère ) - picture by Edouard Manet . Currently located in the Curtou Gallery in London [1] .
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| Edouard Manet | ||
| Bar at Folies Bergere . 1882 | ||
| Un bar aux Folies Bergère | ||
| Canvas, oil. 96 × 130 cm | ||
| Curto Art Institute , London | ||
Folies Bergere - variety and cabaret in Paris . Located at 32 Rische Street. At the end of the XIX century, this place was very popular. Manet often visited Foley-Bergere and eventually wrote this picture - the last one, which he presented at the Paris Salon before his death in 1883 .
Manet made sketches for the picture right in the bar, located on the first floor of the variety show to the right of the scene. Then he asked barman Suzan ( fr. Suzon ) and his friend, martial artist Henri Dupré ( fr. Henri Dupray ), to pose in the studio. Initially, the basis of the composition should be standing against each other barmaid and client, passionate about conversation. This is evidenced not only by the surviving sketches, but also by X-rays of the picture. Later, Manet decided to make the scene more meaningful. In the background you can see a mirror reflecting a huge number of people filling the room. Opposite this crowd, behind the bar stands the barmaid, absorbed in her own thoughts. Manet managed to convey a feeling of incredible loneliness in the middle of a drinking, eating, talking and smoking crowd, watching an acrobat on a trapeze, which can be seen in the upper left corner of the picture.
If you look at the bottles standing on the marble rack of the bar, you will notice that their reflection in the mirror does not match the original. The reflection of the bartender is also unrealistic. She is looking directly at the viewer, while in the mirror she is facing the man. All these discrepancies make the viewer think, the real or imaginary world depicted Manet.
The mirror, which reflects the figures depicted in the picture, is related to the “Bar in the Folies Bergere” with the Meninins of Velasquez and the Portrait of the Arnolfini couple by van Eyck .
Impact on culture
In 1934, on the basis of the images of Manet, the ballet “Bar in Folies Bergere” was created with choreography by Ninetta de Valois and music by Chabrier . [2]
The picture was almost exactly reproduced in the scene of a visit to Foley-Bergere by the heroes of the film “Personal Affairs of a Sweet Friend” 1947.
The picture became the inspiration of the song (perhaps Sidney Carter ) in the popular London 1951 theater production The Lyric Revue. Her chorus sounded like this:
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The painting “Bar” Australian artist John Brack 1954, which depicts the comparatively dark “Antipodovskaya” scene in the bar, is an ironic reference to the “Bar at Folies Bergere”. [3]
In the 1988 Eddie Murphy film “ A Trip to America ”, in the party scene at McDowell, on the wall above the sofa there is a painting parody where the central female figure is replaced by a dark-skinned woman. [four]
Canadian artist Jeff Wall refers to the “Bar at the Folies Bergere” in his painting “Painting for Women” (1979). [five]
Notes
- ↑ A Bar at the Folies-Bergère. In: The Courtauld Institute of Art.
- ↑ Rambert, Marie. Quicksilver: an autobiography. Papermac (Macmillan Publishers Ltd), London, 1983, p157.
- ↑ The great art robbery Unsolved . The Age (April 15, 2006). The appeal date is August 22, 2018.
- ↑ Coming to America (1988) . Trivia . IMDB. The appeal date is August 22, 2018.
- Ate Tate Modern National Gallery, London UK; Jeff Wall Photographs 1978-2004 (21 October 2005). The appeal date is August 22, 2018. Archived October 26, 2007.
Sources
- Ilya Doronchenkov. The course "How to understand the painting of the XIX century", Lecture 8 "Bar in the Folies Bergere" by Edward Manet . Arzamas.academy . Arzamas. The appeal date is August 12, 2018.
- Gary Tinterow. Manet / Velázquez: The French Taste for Spanish Painting. - Metropolitan Museum of Art, 2003. - 608 p. - ISBN 0300098804 .
- Ines Janet Engelmann. Impressionism: 50 Paintings You Should Know. - Munich, Berlin, London, New York: Prestel, 2007. - p. 88-89. - 144 s. - ISBN 978-3-7913-3843-9 .