Manet, ?mile Zola발음듣기
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Manet, Émile Zola
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(piano music playing) Steven: We're at the Musée d'Orsay and we're looking at Édouard Manet's, a portrait of Émile Zola, who is a very important 19th century novelist.발음듣기
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Beth: And art critic and behind Zola is an image of Manet's Olympia and Olympia seems to look down at Zola and Zola was also a friend of Cézanne's, 발음듣기
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so Zola is an important figure in this circle and this is a really new kind of portrait, something very different than a viewer would have expected.발음듣기
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It's ... It doesn't give us very much information in the way that a portrait usually gives us information, that is through the face.발음듣기
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I mean, you get a sense that he's at his desk, at his studies and in some way, he's turned towards us just for a moment, almost in a pause of reflection, not to look at us as if we were the camera, for instance, 발음듣기
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but we have, sort of, caught him in this odd, three-quarters view, that's really almost a profile.발음듣기
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Steven: ... to the face, yeah. and I think that quality of not being able to read a narrative, something we see frequently in Manet's work, 발음듣기
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we have it here in a portrait, where it's incredibly frustrating, especially frustrating because we want to have a sense of the person.발음듣기
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In a sense, there's a kind of flatness to the way the face is rendered, but look also at the book that is turned towards us.발음듣기
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So the artist is forcing us away from the reading of the particular to a sort of a broader kind of reading.발음듣기
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We have the Japanese screen behind him, so we can see that interest in the art of Japan that's coming so much into Europe now that Japan's been open.발음듣기
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Then you have askewed right angle from the book, which almost functions as an arrow pointing towards Zola himself and then Zola's body is an echoing right angle, 발음듣기
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which is echoed again by the chair and so you have this sort of this cascade of these right angles who are moving from upper right down to lower left.발음듣기
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Steven: That's right, although in the opposite direction. but yes, there is a kind of interest in the two-dimensionality which is a reference again to eastern art.발음듣기
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But that comes across also in the flattening of the face and the ways in which the jacket is so dark that you lose all of spatial definition there.발음듣기
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There's little modeling in the clothing, so there is a real flatness and in fact, the space itself is very, very shallow so everything is very close to us and as you guess, 발음듣기
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Beth: There's very much a focus on reminding us that this is paint on canvas and refusing, in a way, to do the things that paint is supposed to do.발음듣기
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I do get a feeling of this image of a modern literary man, a portrait of a man in his age in Paris at the end of the 1860s.발음듣기
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Steven: In a sense, the lack of focus of Zola and it's such a curious thing to say, because this is a portrait of Zola.발음듣기
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But the lack of focus on Zola, in a sense, he is leveled with the things that he finds important, the things that influence him, 발음듣기
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