End Notes
Reflections on a Masterpiece: Manet’s A Bar at the Folies-Bergère
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[1] Griselda Pollock, “The View from Elsewhere”, in Bradford R Collins (ed), 12 Views of Manet’s Bar, Princeton University Press 1996, at 378. The painting is referred to subsequently in this article as “A Bar”
[2] “Bergère” reflects the name of a nearby street
[3] Albert Boime, “Manet’s A Bar at the Folies-Bergère as an Allegory of Nostalgia”, in Collins, op cit at 59
[4] A similar detail appears in Manet’s Masked Ball at the Opera (1873)
[5] Powered by the recently-introduced electricity
[6] Or possibly tangerines, or clementines
[7] A number of these are cited in Boime, op cit at 48
[8] Interestingly, one of the audience members highlighted by Manet, of a woman close to the balcony watching intently through binoculars, calls to mind a similar image by the Impressionist Mary Cassatt in At the Opera (1879)
[9] Cited in Malcolm Park, “Edouard Manet’s A Bar at the Folies Bergere”, https://docplayer.net/41499123-Edouard-manet-s-a-bar-at-the-folies-bergere-1.html (2012). It is interesting that another famous use of a mirror image in a painting was in Las Meninas (1656) by Diego Velàzquez, a painter whom Manet greatly admired
[10] It’s possible that this has come about because Manet was doing most of his painting in the studio, using a mock-up of the setting, with an ordinary table replacing the actual bar
[11] Contemporary account, cited in Bradford R Collins “The Dialectics of Desire, the Narcissism of Authorship: A Male interpretation of the Psychological Origins of Manet’s Bar”, in Collins, op cit, at 122
[12] From his novel Bel Ami, cited by Boime, op cit at 48. Emphasis added
[13] Cited in Richard Schiff, “Introduction”, in Collins, op cit, at 8
[14] Anne C Hanson. Edouard Manet 1832-1883 (Exhibition Catalogue) 1996, at 185
[15] Boime, op cit at 51ff; David Jones, “Manet’s Bar at the Folies Bergère: Consumer Culture and the Commodification of the Feminine”, Confluence, Vol XXII, Fall 2016
[16] Boime, op cit at 54; Sue Rowe, The Private Lives of the Impressionists, Chatto & Windus, London, 2006, at 232
[17] Thierry de Duve, “Intentionality and Art Critical Methodology: A Case Study”, Nonsite.org July 2012 https://nonsite.org/intentionality-and-art-historical-methodology-a-case-study/
[18] M. Park, 'Ambiguity, and the engagement of spatial illusion within the surface of Manet's paintings', Ph.D diss., (University of New South Wales, Sydney, 2001) file:///C:/Users/user/Downloads/Park-014176882-014197219%20(2).pdf ; and “Edouard Manet’s A Bar at the Folies Bergère”, https://docplayer.net/41499123-Edouard-manet-s-a-bar-at-the-folies-bergere-1.html file:///C:/Users/user/Downloads/Park-014176882-014197219%20(1).pdf
[19] Park, op cit
[20] Boime, op cit at 49; David Jones, op cit
[21] Justine De Young, “Representing the Modern Woman: the Fashion Plate Reconsidered (1865–75),” in Women, Femininity and the Public Square in European Visual Culture, 1789-1914 (ed. Temma Balducci and Heather Belnap Jensen; Farnham, Surrey, England: Ashgate Publishing Limited, 2014, at 98
[22] Adolph Tabarant, Manet et ses Oeuvres (1947), cited in Collins, op cit at 118
[23] Cited in Steven Z Levine, “Manet’s Man Meets the Gleam of Her Gaze: A Psychoanalytic Novel” in Collins, op cit at 271
[24] Significantly, French women did not even get the right to vote until the 1940s
[25] Ruth E. Iskin, “Selling, Seduction, and Soliciting the Eye: Manet’s Bar at the Folies-Bergère,” The Art Bulletin 77 (March 1995): 30, 31
[26] Carol Armstrong, “Fracturing Femininity: Manet’s ‘Before the Mirror,’” October 74 (Autumn 1995): 102
[27] Personally, I think that the corsage more resembles the roses in the glass
[28] Collins [see note 11] in Collins, op cit at 123
[29] Jack Flam, “Looking into the Abyss: The Poetics of Manet’s A Bar at the Folies-Bergère , in Collins, op cit, at 167
[30] Cited by Flam, op cit at 174; see also Boime, op cit at 58
[31] Flam, op cit at 167
[32] Michael Paul Driskel, “On Monet’s Binarism: Virgin and/or Whore at the Folies-Bergère” in Collins, op cit at 153. To me, the claimed similarity seems remote
[33] Collins [see note 11], op cit at 121. Thank heavens that he is not also smoking a cigar
[34] Park, op cit
© Philip McCouat 2024. First published February 2024
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[1] Griselda Pollock, “The View from Elsewhere”, in Bradford R Collins (ed), 12 Views of Manet’s Bar, Princeton University Press 1996, at 378. The painting is referred to subsequently in this article as “A Bar”
[2] “Bergère” reflects the name of a nearby street
[3] Albert Boime, “Manet’s A Bar at the Folies-Bergère as an Allegory of Nostalgia”, in Collins, op cit at 59
[4] A similar detail appears in Manet’s Masked Ball at the Opera (1873)
[5] Powered by the recently-introduced electricity
[6] Or possibly tangerines, or clementines
[7] A number of these are cited in Boime, op cit at 48
[8] Interestingly, one of the audience members highlighted by Manet, of a woman close to the balcony watching intently through binoculars, calls to mind a similar image by the Impressionist Mary Cassatt in At the Opera (1879)
[9] Cited in Malcolm Park, “Edouard Manet’s A Bar at the Folies Bergere”, https://docplayer.net/41499123-Edouard-manet-s-a-bar-at-the-folies-bergere-1.html (2012). It is interesting that another famous use of a mirror image in a painting was in Las Meninas (1656) by Diego Velàzquez, a painter whom Manet greatly admired
[10] It’s possible that this has come about because Manet was doing most of his painting in the studio, using a mock-up of the setting, with an ordinary table replacing the actual bar
[11] Contemporary account, cited in Bradford R Collins “The Dialectics of Desire, the Narcissism of Authorship: A Male interpretation of the Psychological Origins of Manet’s Bar”, in Collins, op cit, at 122
[12] From his novel Bel Ami, cited by Boime, op cit at 48. Emphasis added
[13] Cited in Richard Schiff, “Introduction”, in Collins, op cit, at 8
[14] Anne C Hanson. Edouard Manet 1832-1883 (Exhibition Catalogue) 1996, at 185
[15] Boime, op cit at 51ff; David Jones, “Manet’s Bar at the Folies Bergère: Consumer Culture and the Commodification of the Feminine”, Confluence, Vol XXII, Fall 2016
[16] Boime, op cit at 54; Sue Rowe, The Private Lives of the Impressionists, Chatto & Windus, London, 2006, at 232
[17] Thierry de Duve, “Intentionality and Art Critical Methodology: A Case Study”, Nonsite.org July 2012 https://nonsite.org/intentionality-and-art-historical-methodology-a-case-study/
[18] M. Park, 'Ambiguity, and the engagement of spatial illusion within the surface of Manet's paintings', Ph.D diss., (University of New South Wales, Sydney, 2001) file:///C:/Users/user/Downloads/Park-014176882-014197219%20(2).pdf ; and “Edouard Manet’s A Bar at the Folies Bergère”, https://docplayer.net/41499123-Edouard-manet-s-a-bar-at-the-folies-bergere-1.html file:///C:/Users/user/Downloads/Park-014176882-014197219%20(1).pdf
[19] Park, op cit
[20] Boime, op cit at 49; David Jones, op cit
[21] Justine De Young, “Representing the Modern Woman: the Fashion Plate Reconsidered (1865–75),” in Women, Femininity and the Public Square in European Visual Culture, 1789-1914 (ed. Temma Balducci and Heather Belnap Jensen; Farnham, Surrey, England: Ashgate Publishing Limited, 2014, at 98
[22] Adolph Tabarant, Manet et ses Oeuvres (1947), cited in Collins, op cit at 118
[23] Cited in Steven Z Levine, “Manet’s Man Meets the Gleam of Her Gaze: A Psychoanalytic Novel” in Collins, op cit at 271
[24] Significantly, French women did not even get the right to vote until the 1940s
[25] Ruth E. Iskin, “Selling, Seduction, and Soliciting the Eye: Manet’s Bar at the Folies-Bergère,” The Art Bulletin 77 (March 1995): 30, 31
[26] Carol Armstrong, “Fracturing Femininity: Manet’s ‘Before the Mirror,’” October 74 (Autumn 1995): 102
[27] Personally, I think that the corsage more resembles the roses in the glass
[28] Collins [see note 11] in Collins, op cit at 123
[29] Jack Flam, “Looking into the Abyss: The Poetics of Manet’s A Bar at the Folies-Bergère , in Collins, op cit, at 167
[30] Cited by Flam, op cit at 174; see also Boime, op cit at 58
[31] Flam, op cit at 167
[32] Michael Paul Driskel, “On Monet’s Binarism: Virgin and/or Whore at the Folies-Bergère” in Collins, op cit at 153. To me, the claimed similarity seems remote
[33] Collins [see note 11], op cit at 121. Thank heavens that he is not also smoking a cigar
[34] Park, op cit
© Philip McCouat 2024. First published February 2024
Return to HOME