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''A Bar at the Folies-Bergère'' ((フランス語:Un bar aux Folies Bergère)), painted and exhibited at the Paris Salon in 1882, was the last major work by French painter Édouard Manet. It depicts a scene in the Folies Bergère nightclub in Paris. It originally belonged to the composer Emmanuel Chabrier, who was Manet's neighbor, and hung over his piano. ==The painting== The painting exemplifies Manet's commitment to Realism in its detailed representation of a contemporary scene. Many features have puzzled critics but almost all of them have been shown to have a rationale, and the painting has been the subject of numerous popular and scholarly articles.〔Malcolm Park, ''Ambiguity, and the Engagement of Spatial Illusion within the Surface of Manet’s Paintings'' (PhD diss., University of New South Wales, Australia, 2001).〕〔Thierry de Duve, "Intentionality and Art Historical Methodology: A Case Study". Nonsite.org Issue #6, July 1, 2012 () ; builds and corrects previous work Thierry de Duve, ''How Manet's A Bar at the Folies-Bergere is Constructed'', Critical Enquiry, Vol. 25, No. 1, Autumn 1998, pp. 136-168.〕 The central figure stands before a mirror, although critics—accusing Manet of ignorance of perspective and alleging various impossibilities in the painting—have debated this point since the earliest reviews were published. In 2000, however, a photograph taken from a suitable point of view of a staged reconstruction was shown to reproduce the scene as painted by Manet.〔("Manet's ''Bar at the Folies-Bergère'': One Scholar's Perspective" ), www.getty.edu. Retrieved July 20, 2012.〕 According to this reconstruction, "the conversation that many have assumed was transpiring between the barmaid and gentleman is revealed to be an optical trick—the man stands outside the painter's field of vision, to the left, and looks away from the barmaid, rather than standing right in front of her."〔 As it appears, the observer should be standing to the right and closer to the bar than the man whose reflection appears at the right edge of the picture. This is an unusual departure from the central point of view usually assumed when viewing pictures drawn according to perspective. Asserting the presence of the mirror has been crucial for many modern interpreters.〔Bradford R. Collins, ed., ''12 Views of Manet's Bar'', Princeton, New Jersey: Princeton University Press, 1996〕 It provides a meaningful parallel with ''Las Meninas'', a masterpiece by an artist Manet admired, Diego Velázquez. There has been a considerable development of this topic since Michel Foucault broached it in his book ''The Order of Things'' (1966).〔Foucault has given a talk on Manet's ''Bar'' at the Albright-Knox Art Gallery in Buffalo on April 8, 1970. He had planned a book on Manet's painting and gave a series of lectures during 1970/1 but the project was abandoned; see ''Cahiers de L'Herne: Michel Foucault'', mars 2011〕 The art historian Jeffrey Meyers describes the intentional play on perspective and the apparent violation of the operations of mirrors: “Behind her, and extending for the entire length of the four-and-a-quarter-foot painting, is the gold frame of an enormous mirror. The French philosopher Maurice Merleau-Ponty has called a mirror ‘the instrument of a universal magic that changes things into spectacles, spectacles into things, me into others, and others into me.’ We, the viewers, stand opposite the barmaid on the other side of the counter and, looking at the reflection in the mirror, see exactly what she sees... A critic has noted that Manet’s ‘preliminary study shows her placed off to the right, whereas in the finished canvas she is very much the centre of attention.’ Though Manet shifted her from the right to the center, he kept her reflection on the right. Seen in the mirror, she seems engaged with a customer; in full face, she’s self-protectively withdrawn and remote.”〔Jeffrey Meyers, ''Impressionist Quartet: The Intimate Genius of Manet and Morisot, Degas and Cassatt''. New York: Harcourt, 2005. p. 77〕 The painting is rich in details which provide clues to social class and milieu. The woman at the bar is a real person, known as Suzon, who worked at the Folies-Bergère in the early 1880s. For his painting, Manet posed her in his studio. By including a dish of oranges in the foreground, Manet identifies the barmaid as a prostitute, according to art historian Larry L. Ligo, who says that Manet habitually associated oranges with prostitution in his paintings.〔 T.J. Clark says that the barmaid is "intended to represent one of the prostitutes for which the Folies-Bergère was well-known", who is represented "as both a salesperson and a commodity—something to be purchased along with a drink."〔Doris Lanier, ''Absinthe, the Cocaine of the Nineteenth Century: A History of the Hallucinogenic Drug and Its Effect on Artists and Writers in Europe and the United States'', McFarland, 2004, pp. 102–103. ISBN 0786419679〕 Other notable details include the pair of green feet in the upper left-hand corner, which belong to a trapeze artist who is performing above the restaurant's patrons. The beer bottles depicted are easily identified by the red triangle on the label as Bass Pale Ale, and the conspicuous presence of this English brand instead of German beer has been interpreted as documentation of anti-German sentiment in France in the decade after the Franco-Prussian War.〔Kenneth Bendiner, ''Food In Painting: From The Renaissance To The Present'', Reaktion Books, 2004, pp. 73–74. ISBN 1861892136〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「A Bar at the Folies-Bergère」の詳細全文を読む スポンサード リンク
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