Édouard Manet, A Bar at the Folies-Bergère, 1882발음듣기
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Édouard Manet, A Bar at the Folies-Bergère, 1882
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(jazz music) Dr. Zucker: Manet's painting from 1881-82, Girl at the Bar of the Folies-Bergere.발음듣기
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It was frequented by the upper middle class in Paris and it had all sorts of amazing things going on.발음듣기
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Many reproductions, but this is the first time that I ever noticed those two pair of shoes (laughter) hanging down from the upper left hand corner of the painting.발음듣기
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Of course, Paris at this moment, social and political issues, but at first, I think when you look at this painting, it seems as if you're seeing in back of her this deep space,발음듣기
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but if you look very closely, right around her wrist, you'll see the bottom of the gold frame that separates the mirror that we're actually looking at.발음듣기
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Those legs that are hanging there in the upper left of the painting, are in fact, in back of us.발음듣기
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Dr. Harris: I think, actually, in the Folies-Bergere, from what I've read, there were several spectacles going on at once.발음듣기
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Dr. Harris: That's the problem, because when you first look at the painting, it looks as though we're approaching her,발음듣기
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we're presumably the male, the consumer here, going and purchasing a glass of wine or a drink from her and we seem to be some distance from her and her look and her posture seem a little bit distant.발음듣기
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There's a kind of ambivalence in her expression, but when we look at the reflection, it seems different, right?발음듣기
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Man: And the man is much closer, but when she looks at us, there's a certain vacancy in her eyes.발음듣기
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Why the discrepancy so that there's a presumed intimacy that seems to be in the reflection between the man and the woman?발음듣기
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Perhaps the implication of a flirtation going on, a kind of sexually available working class woman in Paris in the 1880s, who certainly would've had a sense of sexual availability, compared to upper middle class women, who would've been more sheltered away.발음듣기
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As you had mentioned just a moment ago, it almost seems as if we are that viewer, we embody that viewer and he is us, as the consumer of this painting, as the consumer of the drink, perhaps as the consumer of her.발음듣기
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You were speaking of ambiguity or an openness of the way in which we interpret her face and her facial features and her expression.발음듣기
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If you really look at that face, I think there's the possibility of seeing a kind of intense, actually a kind of sadness there.발음듣기
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There's a kind of openness to those eyes and a kind of remorse that is, I think, very affecting, really, and really quite powerful.발음듣기
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Manet, just as we're looking at this detail for a moment, just look at the handling of the paint.발음듣기
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Look at, for instance, the locket, or whatever she's got on her choker there and the openness of that reminds me of his still lifes.발음듣기
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Dr. Harris: This is actually a sketch for the Bar at the Folies-Bergere, that seems to show a very different perspective that seems a little bit more true, in some way, because in this case, the man and the woman do have a distance that does seem to match our experience of her,발음듣기
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if we are the man in the painting reflected back, the space seems to make sense more here than it does.발음듣기
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Man: No, absolutely, but there's no way that we can insinuate ourselves in this painting as we can in the other painting.발음듣기
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Dr. Zucker: Of course, all of this is happening, this intense relationship that takes place between her, him, and the viewer, whether or not they're collapsed or not.발음듣기
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(crosstalk) Dr. Zucker: Cezanne will take it and certainly make symbolism out of it very quickly.발음듣기
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Dr. Harris: There's all this marvelous stuff going on in the background besides the acrobat.발음듣기
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If you look closely, there's a woman with binoculars, very well dressed in the background leaning over and peering around at people.발음듣기
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Dr. Zucker: A woman looking, but a woman looking through binoculars that really focuses attention, but of course, we're seeing all this as a reflection and of course, the reflectivity of a mirror is just perfect metaphor, in many ways, for what Manet is ...발음듣기
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Dr. Zucker: That's right, is Manet concerned with the accuracy and the legitimacy of the reflectivity of the canvas or is he more just in the destruction and manipulation.발음듣기
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Because of the research that's on the Getty Museum's website, it's actually pretty clear that he's really playing with perspective.발음듣기
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It seems, from recent research, that in fact, the male viewer that we see reflected is actually just out of our view, over to the left.발음듣기
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Dr. Zucker: In fact, we're viewing this over from the right and the combination of those two perspectives actually bring those two figures together (crosstalk) but only in the reflection in a way that is wonderfully staged and constructed.발음듣기
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Dr. Harris: In a way, he's saying that the mirror is not this thing that's represented the truth, a metaphor (crosstalk)발음듣기
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Here, he's taking that mirror and saying, "No, mirrors are false, mirrors are just as constructed, in a way, as everything else, based on our point of view."발음듣기
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Think of that in terms of the new ubiquity of photography and from the perspective of a painter, that you have this ability to draw nature accurately or, perhaps, not so much.발음듣기
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Dr. Harris: Right, and also just ideas of the pursuit of truth and what exactly constitutes the truth and is there a truth outside of subjectivity?발음듣기
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Dr. Zucker: The truth is, perhaps, this larger thing that is Manet's understanding of this social dynamics of this era.발음듣기
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It brings that emotional issue that you picked up on of jealousy and intimacy and anxiety, even, that wouldn't be there, I think, if the perspective hadn't been -발음듣기
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Dr. Zucker: Those are all feelings and they're real feelings, but they're fleeting feelings, ones that you would almost lose as you progress through this space, just as the light is fleeting, just as the circus acts are fleeting, just in a sense, as Paris was fleeting at this moment.발음듣기
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It's always what he's doing, is capturing these moments that happened in the passing second.발음듣기
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(crosstalk) Dr. Harris: An openness to meaning and yet a kind of emotional intensity at the same time.발음듣기
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Dr. Zucker; It's a poster, really, an advertisement and what's so wonderful, in the bottom right corner, is a scene that's not so different from what Manet actually paints and this poster existed just a few years before the painting was made in the mid- to late 1870s.발음듣기
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Dr. Harris: Yeah, and it gives us an idea of the kind of sexualized, I think, flirtatious of the (crosstalk)발음듣기
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Dr. Zucker: This was a place where the commodity of sexuality could really be openly dealt with, in some way, at least for 19th century culture.발음듣기
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