Edward Manet has been regarded as a classic yet controversial historical artist. His classical works have proved to have intentional mistakes that have a deeper meaning. One such art is A Bar at the Folies-Bergère (1881–1882). In a simple description, the painting shows a counter at one of the most popular nightspots located in Paris, where a barmaid has arrived to serve a customer. The man she is doing has wan a top hat and a mustache. On the right side of the portrait is a reflection of exchange in the mirror that covers the entire wall. Even though some people consider the painting ugly, others scholars believe that it is superb and has outrageous taste. The most confusing part is how he has arranged the walkways, chairs, and counters staffed with fiercely roughed women. It is upon these confusion backdrops that this paper aims to prove that such intentional confusion was highly intended to help promote a deeper meaning in the arts field.
Research studies suggest that Manet wanted to use such a form of confusion to create realism and provide a deeper meaning to his artistic work. He aimed to show the globe that a single portrait can have varied meanings, especially when presented well. For example, in the mirror reflection, one can see the audience sitting on the balcony while looking at the stage. The bar has a marble counter with many champagne, beer, and wine. The legs of the trapeze artists are also a clear indication that the show is full of people within the area. Ideally, the main aim of the artist to depict all these items is to show the audience that the raucous event is underway and lively.
This mirror is believed robust in changing every aspect of art into magic. In other words, through the mirror, people can see spectacular things behind her back. Her vintage in the mirror makes her the center of attention, thus proving women a global driving power. Her mega reflection indicates the barmaid’s ability to control almost all activities occurring within the location and beyond. Her reflection suggests that she can provide care for the needs of most customers who have arrived in the lounge. In other, it is a clear indication that these women are dedicated and ready to work to provide for their families.
What is apparent in the picture is that Manet has used the mirror to reflect the world that the barmaid is focusing on. In doing so, he has provided her with a vintage point, thus facilitating her subjectivity. It is an ingenious way of making her the main focus of the painting. In this manner, she becomes not only a subject of discussion but also a subject of her life. The reflection further shows the forms of tuff life; these barmaids may have faced during the work, primarily to serve the high number of attendees. It is most likely to be presented as a prostitute parading her desires to potential clients. The woman’s gaze that she has provided is highly captivating, attracting potential clients, such as the man standing in front of him.
Art scholars proved that Manet’s works are perfect work of art that shows the transience of life, the futility of pleasure, and the certainty of human death. The mirrors were undoubtedly used to indicate the narcissism and strenuous life the women faced to serve their lords who had come to enjoy themselves in the bars. The various varieties of alcohol, beer, and Champaign clearly indicate worldly pleasures that people sometimes take the opportunity to enjoy. Finally, he includes the flowers and fruits in the painting to demonstrate the phenomena of life that are fleeting and short. Thus, though the artwork may seem confusing, it has a more significant meaning in the human desire to enjoy short life. His presentation is a perfect show of all the things most people desire before imminent death.
Manet has bled his work with a traditional motif in a modern setting to continue creating more meaning to the painting. The presented bowl of organs suggests that the lady working at the counter is a slut. The above presentation is a perfect example of discrimination against women. In other words, women have been presented as objects to serve the interest of men, such as sex and pleasure. For example, at the counter, the lady is seen serving the man various varieties of alcohol. On the other hand, the artist has managed to show her cleavage, therefore, exposing her sexual desires to the audience. Even though some people may not understand the implication, the artist’s main aim was to show women’s role as objects of pleasure and sex.
Manet’s brilliance in an artistic presentation can further be lefts to perpetual questioning on how he depicts the barmaid. For instance, the barmaid maintains an ambiguous demeanor that hovers between disenchantment and assertiveness. She stands out to meet the gaze of the audience while at the same time drawing away from it. Some scholars believe that her eye helps keep the work fresh and exciting to the audience, while it is a struggle and unintentional to her. Therefore, the work presents how these ladies who work in the bars sometimes operate against their will. That means, even though the world may be celebrating, in their opinion, they usually have nothing much to enjoy but to submit and get their daily bread. In other words, women working in some of these environments sometimes may not want the work and thus may turn their back, as shown in the mirror.
The painting further provides the details of the milieu and the social class that existed during that period. According to historical records, the 1880s was the peak of a new revolution in Paris. During these times, most people had the opportunity to achieve better education, get jobs and live decent lives. As a result, most the people will take the opportunity to enjoy themselves in the bars within the urban and suburban regions of the city. People would dance, drink their best brands, and enjoy sex with prostitutes. The portrayal of the Champaign is an indication on the improvement of the social economic welfare of these members and improvement on their purchasing power. Further, the modern structure indicates the possible improvement in the structural development in Paris.
The Parisian culture of consumerization also influences Manet’s objectives of using various elements in the painting during the late 1800s. The correlations between the barmaid and the merchandise address the accustomed culture of the male perspective. The renowned artist accomplishes the idea by promoting the proximity of the products and the customer. The trend’s impact is to create a resemblance between the seller and the buyer. By making the women the seller, Manet perfectly manages to prove to the globe the power of men to remain in the discourse of consumerization while the females produce. He works to address the mass industrial production of the products that were created for display during that period. The presentation of the products was aimed at attracting potential customers and advertising them beyond Paris. Further, his artistic work is a perfect show of the region’s improvement in business and commercial operations.
In conclusion, A Bar at the Folies-Bergère has perfectly shown Manet’s powerful skills in presenting various meanings in his artistic work. Through multiple elements, the renowned scholar has offered various issues about the society’s past social and economic position. He has perfectly blended numerous items to show the world the golden talent of painting and its possible effects. Therefore, people should use his case to learn excellent artistic skills and make positive changes to the negative items that have been addressed.
References
Boime, Albert. “Manet’s ‘Un Bar Aux Folies-Bergère’ as an Allegory of Nostalgia.” Zeitschrift Für Kunstgeschichte 56, no. 2 (1993): 234–48. https://doi.org/10.2307/1482637.
Carrier, David. “Art History in the Mirror Stage: Interpreting Un Bar Aux Folies Bergères.” History and Theory 29, no. 3 (1990): 297–320. https://doi.org/10.2307/2505053.
Duve, Thierry de, and Brian Holmes. “How Manet’s ‘A Bar at the Folies-Bergère’ Is Constructed.” Critical Inquiry 25, no. 1 (1998): 136–68. http://www.jstor.org/stable/1344137.
Duve, Thierry de. “Intuition, Logic, Intuition.” Critical Inquiry 25, no. 1 (1998): 181–89. http://www.jstor.org/stable/1344139.
Howard, Seymour. “Early Manet and Artful Error: Foundations of Anti-Illusion in Modern Painting.” Art Journal 37, no. 1 (1977): 14–21. https://doi.org/10.2307/776063.
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