Contes divers 4 ;(1883)(illustré) (French Edition)

The goods on the counter and the crowd are the primary clues for my interpretation.

Browse By Author: S - Project Gutenberg

Not only was art for sale in exhibits, a fact which in the eyes of many reduced it to the level of bazaar goods, but art shows in world exhibitions also existed in the context of displays of industrial goods and the advertising of department stores and other prominent commercial enterprises.

Most important, both department stores and modern artists positioned themselves in a culture of display and commodities, soliciting the eyes of consuming spectators who were part of a mass public. Furthermore, salesgirls formed part of an aspiring new class of the Petite bourgeoisie. A passage by Zola articulates this: It was "the costume of her employment," as A. Tabarant specifically described the dress worn by the model, Suzon--selected for this painting by Manet because she was employed as a seroeuse at the Folies-Bergere.

Jean-François Bladé

Lit shop windows characterized the display of high art as well during this period in Paris. Five of the six shops show pictures in their windows. They are regularly changed and illuminated at night. The latter, as Walter Benjamin noted, "were places of pilgrimage to the fetish commodity," 18 and as Hippolyte Taine wrote in , "All of Europe has been on the move to see commodities. Moreover, displaying products from specific stores was common practice at such events; the display itself often mimicked a shop window, as illustrations in magazines from that period demonstrate Fig.

As demonstrated by an illustration of the Japanese ceramics department at the Bon Marche in Fig. He is highly skilled in the art of arousing temptation, inciting the desires, unsettling wills and mind-sets, fascinating the undecided. He delighted in a tumbling of stuffs, as if they had fallen from the crowded shelves by chance, making them glow with the most ardent colors, lighting each other up by contrast, declaring that the customers ought to have sore eyes on going out of the shop. It was displayed to stimulate the desire to touch, and then buy. Illustrations of both department stores and exhibitions in magazines of the s adapted this principle to the flat page by highlighting selected objects on display, placing them in the foreground while the space of the exhibition hall or department store extends toward the back; a view of the Monaco Pavilion in is a case in point Fig.

It goes further by positioning the marchande as if ready to wait on the spectators in front of the painting.

This illustration has much in common with the kind of visual advertising that characterized posters in Paris during the second half of the nineteenth century. As will be shown below, posters promoting alcoholic and nonalcoholic beverages similarly positioned the bottles close to the spectator and next to an attractive woman. Similarly, its composition equates encountering the painting with seeing an actual display of goods alongside its attractive saleswoman behind the bar.

Moreover, the audience that Manet depicted in the mirror appears to reflect the spectators in front of his painting, because the mirror is positioned to "capture" the image of anyone standing before it. It is another device through which the spectator is virtually "hooked" into the painting. Consider, for example, a small but meaningful detail: Situating his signature on the lower edge of the label, as if it were a tiny painting within the larger one, makes the label, which in the consumer age is identified with the commodity, a symbolic site of modern painting.

Drawn in with a hint of pleasure, the consuming male spectator at the bar, like the potential shopper at the department store, typically female, is enticed by artful means of display. Our view of the barmaid and of the entire painting is mediated through the sumptuous "still life" on the counter. The shiny bottles, mandarins in a bowl, and delicate roses in a glass are all prominently positioned to evoke the senses of smell, taste, and touch, visually luring the viewer into approaching the bar, and thus the painting.

Manet makes the "still life" central by painting it in relatively large dimensions and with an articulation of depth nowhere else repeated in the picture. The "still life" thus appears as "real" in comparison to the images "reproduced" in the mirror. In A Bar at the Folies-Bergere the bottles of champagne, Bass Pale Ale, and a reddish liqueur are presented as repeated items, mass-produced commodities in a commercial setting. If the bottles collectively signify commodities in a public space, the fruit and roses on the bar belong to a well-established repertoire of domestic still life.

Here they fulfill a decorative purpose, connoting, along with the image of the woman near them, an older regime of domesticity deployed to promote sales in the public environment. It is this double code of the "still-life" arrangement that acts as a decoy attracting consumers. Thus, in A Bar at the Folies-Bergere, the lure is a complex set of codes that mixes sensual pleasures with sexual allusions, domestic plentitude with industrial mass-produced commodities on public display, and the tradition of still life with the emerging visual discourse of advertising commodities.

Here however the conquest and the prize are of a nobler and more spiritual kind.

Saalfield, Adah Louise Sutton

With her it is a question of winning the heart of the public not only by means of sheer physical beauty but also through talents of the rarest order. If in one aspect the actress is akin to the courtesan, in another she comes close to the poet. As Baudelaire recognized, it was both a psychic and economic condition: In this section I am arguing that female spectatorship was not only present, but also played a crucial part in the visual culture of modernity, despite a long-standing social etiquette that trained women to avert their eyes.

Rather than argue for a paradigmatic "female gaze" to counter the famous "male gaze" associated with Laura Mulvey , 45 I will historicize and particularize "the" gaze, showing that modern women enacted a range of gazes depending on their social status and that representations of female gazes were exploited in advertising as well as represented in high art.

As the consumer body upon which the industrial society of the second half of the nineteenth century was founded, they played a crucial, albeit stereotyped role. For these reasons, a neat division between women as display and men as possessing the gaze is not adequate to account for the historical developments of modernity. The iconography of women consumers appears as early as in a poster by Rouchon, which was one of the first commercial posters promoting a store, Au Paradis des Dames Fig.

The crowding of female consumers characterizes the illustration of women at the counter in the Bon MarchE some three-and-a-half decades later as well Fig. Somewhat set apart from the rest of the crowd, this fashionably dressed Parisian is distinguished by her interested gaze exercised through the lorgnette in her hand. By women constituted In the words of one writer: It was my first time in this place, for the first time I had seen women in a cafe with smoking permitted.

All around us there were not just women, but Ladies The presence of these "well-bred" women gave the audience a quite particularly slovenly appearance--gave it a kind of social slovenliness! The shopkeepers of the neighborhood, their wives, and their daughters, their cook-maids and their clerks, the working-men, the washerwomen, the girls who toil all day in manufactories, all patronize the cafes-concerts steadily night after night.

Within the context of art history, discussion of nineteenth-century posters in relationship to avant-garde paintings has most often focused on examples from the s and on their modern style. It is, of course, important to remember that posters were an emerging, thoroughly modern form of advertising that embodied a new visual discourse of mass consumption. They also had a day-to-day presence since they were widely posted on streets. These technological prostheses portray looking as a virtual scopic attack whose phallic overtones are boldly stated.

Note that the authorial signatures are placed near a pair of large and disembodied binoculars that are pointed at the young woman from the lower right corner of the drawing--a strategic position that lends them a surrogate presence and makes them available for any potential, preferably male, spectator outside the caricature. True, the woman is depicted in the act of looking, but she aims her opera glasses to the side, away from any engagement with the eyes of men and women in the painting and even with viewers of the painting.

She is thus not depicted as challenging head-on the good manners imparted to French girls, whose gazes were strictly regulated: French etiquette prescribed that when walking down the street, "Women must avoid looking people in the eye [regarder en face], especially men who pass near them. This would be a mark of incivility and impudence [effronterie]. Zola describes it in Nana, his novel of..

Manet had depicted this kind of confrontational gaze in Olympia and again in Nana. Though the gaze of the woman at the counter in A Bar at the Folies-Bergere is blank rather than brazen, she too looks out into the crowd. But neither her gaze nor the gazes of the women on the balcony behind her are the kind of sexually provocative transgressive gazes characteristic of the courtesan. By making them a bit more legible than the rest of the people on the balcony, Manet clearly inserts their spectatorial gazes into a sketchier crowd, highlighting their presence as members of the modern public.

On occasion the department store was depicted as bursting with crowds, much as Zola had described it and as we can see it visualized in numerous illustrations. The masses who frequented the Paris Salon and fine-arts exhibitions made even the experience of viewing officially sanctioned high art an event of popular culture. On Sundays often twenty thousand people attended the Exposition Universelle of fine arts in , 67 and more than two hundred thousand came to see several thousand artworks at the Salon during a fifty-five-day period in At that distance, she could only distinguish a compact, confused mass of people, piled up in row upon row, a dark background relieved by pale patches which were human faces.

Liste de personnalités liées à Besançon

Like the Impressionist brushstroke, each member of the crowd plays a small part in the construction of a whole. Changes in viewing habits at that time were not necessarily limited to any one artistic medium. Rather, they were related to a multifaceted historical development inscribed in a mixed-gender public that was evolving in the age of mass consumption and the "era of crowds": The public is an examiner, but an absent-minded one.

Like the actual spectators of the painting in the Paris Salon, members of the crowd of the Folies-Bergere are, first of all, consumers of urban pleasures and spectacle. Their gazes do not engage in private contemplation and singular judgment but rather are an integral part of a multisensorial social interaction.

As Zola complained and countless illustrations and caricatures confirm , the browsing spectators of the Salon who look at artworks while walking, talking, seeing, and being seen are less involved in aesthetic judgment than in mundane pleasures, expressing opinions, laughing, or flirting. Individual contemplative experience of art has been supplanted by pleasures of public spectatorship of objects for sale, where the primary mode is participation and interaction.

Le Bon and others perceived modern crowds as a threat to the family spirit of preindustrial urban life and as a means of bringing about a social and political leveling. Le Bon warned against their destructive influence: The spectators in A Bar at the Folies-Bergere are represented as a disciplined crowd, consuming entertainment en masse.

They are seated in rows crowned by chandeliers as in so many other ticketed events that occurred in large halls, such as the Pasdeloup concerts Fig. Manet, however, never had a dealer who regularly exhibited or sold his paintings, and though he came from a family of means, he depended to a certain extent on finding buyers; at one point he was almost forced to give up his studio to cut down on expenses, and at the end of his life, he again depended on selling his paintings to pay for medical treatment.

Having first been awarded a medal and then, in , the Legion of Honor, Manet could at last count on having any painting he submitted to the Salon exhibited. Thus, he painted A Bar at the Folies-Berg re with the intention of exhibiting it at the Salon, and in the knowledge that it would be hung. The crowd with its multiplicity of gazes as depicted in the mirror suggests that spectators in the front of the painting can identify with the viewpoint of the crowd.

In effect, there are several points of spectatorial identification embodied in the painting: Looking beyond the Male Gaze The intense gaze of the man, cast at a suggestive closeness toward the barmaid, exercises power over its female object. Manet carefully chose this dynamic after completing an earlier sketch, A Bar at the Folies-Bergere of Fig. Rather, conflated with the mirror of modern life, he is a consumer in the process of buying a drink, and perhaps more.

His privileged viewpoint has been relativized along with a partial loss of mastery, and the hermetically defined territory of an individual subject has been redefined by an urban intercourse with the crowd. By the same token, the tradition of a contemplative gaze at art was undermined both by the mass public and by the mixing of art and industry at the universal expositions.

The age of industrialism and mass consumption radically changed the experience of viewing art, as one writer complained: In contrast to a binary opposition of female spectacle versus a male gaze, the issue is more complicated, as is evident when one considers the evolving identities of men and women during the latter part of the nineteenth century in Paris. The poet writes of his yearning to share his gaze with a particular woman, and to buy with her what both of their gazes desire: During the last decade of the century, a stereotyping discourse that associated women with spectacle and seduction reasserted itself with new vigor in both fin-de-siecle high art and in advertising posters.

Nevertheless, women continued to be frequently represented as spectators in contemporary posters, attesting to their newer role as consumers and serving to attract them.

Saavedra, Angel de, duque de Rivas

Though no less exploitative than depicting women as objects on display, imaging them as spectators represented a shift in how their subjectivity was being addressed. Many posters used blatantly seductive images of women even as they appealed primarily to them as consumers. The poster was probably intended to reach female consumers because the sweet-tasting Framboisette was popular with them. In addition, the poster may appeal to male consumers by implying that her intoxicating favors accompany the purchase of the drink.

That the bottles in A Bar at the Folies-Bergere cannot be read as a still life but rather are radically positioned as products for sale situates them in the commercial discourse of etalage and advertising, and calls attention to the fact that the discourse of mass consumption already resided even in avant-garde art during the time of Manet and the Impressionists. Avant-garde painting was inevitably both immersed in the contemporaneous scene of mass consumption and an agent in it.

Deviating from academic traditions, which attempted to be oblivious to modernity, A Bar at the Folies-Bergere was innovative precisely for inscribing the new paradigm simultaneously into its style, composition, and mode of address. Yet it steers clear of the overt seduction of advertising posters like La Framboisette. In eyes that look at us with a mirrorlike blankness the remoteness remains complete. I would like to thank all those who read versions of this paper during the three years of revisions: Donald Preziosi, Debora L. My gratitude to Nancy Troy for thorough editorial guidance and to the Getty Center for the History of Art and the Humanities for making the resources of its library and special collections available.

Translations are by the author unless otherwise noted. Baudelaire, written between and ; see ibid. Both recent and 19th-century comments have shared this assumption. The catalogue entry in Manet, exh. Suzon--the woman who worked at the bar at the Folies-Bergere and acted as the model for the painting, which Manet did in his studio--insisted on being accompanied by her boyfriend to the sessions.

Popular Culture in France, ed. Gragan, Saratoga, , ; and Clark, The history of the cafe-concert figures prominently in Clark, as in n. After the Great Divide: Ward, "Impressionist Installations and Private Exhibitions. Parisian Urbanism, ," in The Spectacle of Nature: Landscape and Bourgeois Culture in Nineteenth-Century France, Manchester, , , argues that metropolitan ideology associated with consumption was forged between and in Paris.

It was published as a volume in Paris in On the Bon Marche, see M. Miller, The Bon Marche: Despite her discussion of the iconographic tradition of the dame de comptoir in magazine illustrations, Ross ultimately interprets the barmaid in the familiar context of leisure, entertainment, and pleasure, casting her as "the archetypal Parisienne.

Flor, in Le National de , C. Zola elaborates on the silk uniform that Denise Raudu had to wear at work. Tabarant, Manet et ses oeuvres, Paris, , Green, "Circuits of Production, Circuits of Consumption: Adler, Manet, Oxford, , On Giroux see Green as in n.

Le Monde illustre, I, , On the interconnections between materialism, imperialism, and universal exhibitions vis-a-vis American culture, see R. Rydell, "The Culture of Imperial Abundance: Accumulation and Display of Goods in America, , ed. Bronner, New York, , Report item - opens in a new window or tab.

Description Postage and payments. Seller assumes all responsibility for this listing. Visit my eBay shop. Lahure imprimeur, Graveur Ch. Gillot, Directeur artistique F. Textes et illustrateurs divers. Take a look at our Returning an item help page for more details. You're covered by the eBay Money Back Guarantee if you receive an item that is not as described in the listing.

Most purchases from business sellers are protected by the Consumer Contract Regulations which give you the right to cancel the purchase within 14 days after the day you receive the item. Find out more about your rights as a buyer - opens in a new window or tab and exceptions - opens in a new window or tab. This item will post to Russian Federation , but the seller hasn't specified postage options. Contact the seller - opens in a new window or tab and request a postage method to your location. Postage cost can't be calculated. Please enter a valid postcode.

There are 1 items available. Please enter a number less than or equal to 1. Select a valid country. Please enter up to 7 characters for the postcode. Will usually dispatch within 5 working days of receiving cleared payment - opens in a new window or tab. Back to home page Return to top. Buy it now - Add to Watch list Added to your Watch list.

1. sign up to our weekly newsletter.
2. Selling, seduction, and soliciting the eye: Manet's Bar at the Folies-Bergere.
3. Perry Rhodan Neo 37 : Die Stardust-Verschwörung (German Edition)?

Back to home page. Email to friends Share on Facebook - opens in a new window or tab Share on Twitter - opens in a new window or tab Share on Pinterest - opens in a new window or tab Add to Watch list. Add to basket -. Add to Watch list Watching Watch list is full. Autre livraison internationale standard.