FREE ESSAY ON MANET'S A BAR AT THE FOLIES BERGERE

MANET'S A BAR AT THE FOLIES BERGERE

Manet's A Bar at the Folies-Bergere
Manet's painting, A Bar at the Folies-Bergere, was an integral factor in the rise of a
new era in art; through the emergence of a contemporary Parisian city, Modern art began
to flourish during the late 1800's. Being a painting of extreme complexity and ambiguity,
many art critics have commented on the formal aspects of the painting, as well as the
social reactions to this specific, and novel form of art. The purpose and meaning of the
mirror behind the lady and the disparity of reality versus reflections, pose immense
controversy and are discussed in Robert Herbert's essay, Impressionism: Art, Leisure, &
Parisian Society, Bradford R. Collins, Twelve Views Of Manet's Bar, Jack Flam's Looking
into the Abyss: The poetics of Manet's A Bar At the Folies-Bergere, and T.J. Clark's, The
Painting of Modern Life. Moreover, these authors's united their interpretations of this
painting with the idea of a new Parisian lifestyle and conduct. 
Presented in this painting is the scene of a young, engaging barmaid at the
Folies-Bergere music hall. She is standing behind a marble counter, which is covered with
wine bottles, fruits, and flowers. Behind her are the essential element of the painting;
the mirror that reflects the setting in which she is serving, as well as a peculiar man
with a moustache. The barmaid, is confined to the narrow space behind the bar, however in
the reflection, Manet introduces the new recreational activities of the elite, and
sophisticated Parisians. Despite her lack of expression, Herbert clearly states that
Manet has given the barmaid facing the audience a feeling of dignity and self-worth,
contrary to the Parisian customs. It was thought that women were hired to increase the
sales of drinks, and were made as vehicles for sexual favors, and other kinds of
business. Herbert also says that barmaids at the time were known for loose morals. He
says that the lady has an ambiguous demeanor, yet her frontal image is correct, even
distant from us. She conceals her character in a firm way, and does not solicit any other
information. Collins states that Manet's primary objective was to capture in paint that
life's particular character and interests. However, in the mirror, an entirely different
disposition is seen, in which she is giving herslef over to the man, and releasing all
tension of which she shows in the frontal image. Herbert states that this provokes the
issue of male-female commerce. He claims that it is incredible that a man can influence a
woman in the field of romance and desire. The mirror serves as a means for showing the
other perspective to this situation. Herbert comments on the distinct tension between the
real and the reflection within her yielding nature showing her discomfort and desire to
please. Herbert feels that the climax of this painting occurs when the viewer realizes
his own role in the painting, and identifies where the illicit man should be placed.
Herbert also questions the notion of who really is the viewer of the painting, and what
purpose do we, as spectators serve. He concludes that the pinnacle of this painting is
the game that Manet is playing with the viewer. Because of the intense look in the man's
face, we are inclined to assume the woman's role as a stereotypical barmaid. This is
countered though by her stoic perception toward the viewer. Ultimately, though, Herbert
feels that the painting was directed toward a male audience, and the reflection in the
mirror allows for this to occur, yet disguising the frontal image.
In Flam's essay, he emphasizes that the purpose of the mirror is to see the opposing
views of the woman. He states that perception, and reality of her image is dependent upon
where the viewer gazes at her. The entanglement of all the objects around her add to this
distortion; hence we are introduced to the man in the reflection in a different fashion.
Flan emphasizes that she portrays two entirely different personas, suggesting innuendos
of respective regard. Therefore, the viewer is encouraged to interpret this in various
manners. He states that Manet intended for the mirror to be a source of connection
between the imaginative and real world, however excluding all kinds of inhibitions that
went along with realism. He states that the lady, herself, is clearly the only real
person in the picture. Flam also sustains the idea of Herbert that which, once the
abstruseness of the lady is discovered, whether her purpose be desire, objectivity, lust,
or prostitution, she is no longer scrutinized, but rather these material perceptions are
looked at as being distorted. Clark also focuses on this aspect, in which the events of
the painting, once understood, influence the viewer to see life in a different light. He
also emphasizes that the Parisian society had a skewed outlook on life, because their
morals were slanted by the stereotypes of society. Hence, Flan concludes that the
painting is somewhat analogous to Parisian social status. What may have seemed like an
unoriginal form of art, was actually the emergence of an entirely different take on the
reality of people. 
Clark's interpretation is slightly different from the other two, in that his main
question regarding the mirror is which scene is the viewer being invited to participate
in. Should one focus on the fixed and flat actual image, or the events occurring in the
mirror. He initially states that Manet concentrates on portraying the Parisian society
accurately, and therefore, he feels that the reflection of the setting is adequate.
However, he proceeds to comment that the painting is extremely flat, and lacks a sense of
warmth and enticement. Her figure is exact; unchanging, and severed from everything
around her. He believes that by painting a mirror, all substance loses its significance;
however, in order to regain this meaning, the mirror has to be pushed further back and
distorted, in order to reflect this realm of meaning. He strongly emphasizes though, that
the images in the mirror must not interfere with the front visual image. It is imperative
that the two surfaces do not act on each other, but rather display co-existence.
Furthermore, Clark felt that Manet chose to depict a paradox of emotions within this
painting, including many of his own. 
Indeed, Manet presented the world with a puzzling piece of art, however, he also prepared
society for a new way of interpreting art and life. What both Herbert and Flam agree on
is that because of the extreme stoicism of the lady, the viewer is inclined to take on
the role of the man in the mirror, and view the scene from a different perspective. As
Herbert states, because we are in the position where he would occupy the bar, he becomes
our second self. Flam states that Manet allows us a similar double vision throughout the
medium of the magical vision. He deems this feature as a type of monologue between
people. Although Clark does acknowledge that we must be where he is, he feels that we are
the center, and that surely the man's interaction with the barmaid should not be the
basis for our interpretation. 
A Bar at the Folies-Bergere was an extremely important painting of the late 19th century
because of its powerful impact on Parisian society. Manet introduced the world to the
idea of realism, and challenged art viewers to go beyond the visible forms, and imagine
life from a different perspective, thus, using a mirror to facilitate this event.