Music In The Tuilers: The Absinthe Drinker

The painting “A Bar at the Folies-Bergere” a first modern painting that portrays young woman resting on the marble counter, the girl looks below the blond bangs with distant eyes and serene. Has the neckline adorned with a bouquet of flowers in front of it are bottles of champagne, beer and peppermint schnapps. She is the symbol of his time and the reality of his time reflected on his face. The tones of the picture, cold and creamy, remember rain and inspire melancholy. Through a game of perspective and optics, Manet gets the strange impression that we are also confronted the waitress the picture, as if we were at the Folies-Bergère and we saw that dandy reflecting itself. the result of the distorted logic of the work - is perceived tension.

‘Impressionism’ was a derogatory term first used to mock Claude Monet’s painting Impression, Sunrise, and other later paintings that were patterned after his revolutionary style. At a time when artists took great pains to make their artwork look as life-like as possible, the quick brushstrokes and blurry figures in Monet’s paintings looked anything but realistic to the art critics. Because of its focus on mental images, Impressionism later came to include not only visual arts, but also certain music as well. Debussy and Ravel are two of the most famous Impressionist composers, and our textbook states that what sets their style apart is that “instead of dealing with human emotions, [their] music evoked the atmosphere of nature” (p. 704). This type of

In other words, he wanted the viewers to see paintings as a two dimensional surface and not three dimensional pictures. With having such mindset, Manet’s work was always being critiqued harshly by the French Academy and the public. One of his best known paintings which like Ingres’s Grande Odalisque received very brutal critiques was his Olympia done in 1863. Manet not only wanted to portray a modern life scene, but also wanted to make social commentaries throughout his work. In Olympia was he was able to make a comment about the French social and sensual lifestyle. Olympia is a painting of a reclined nude figure that appears to be a prostitute because of the title that he had given it (during the 19th century, a professional prostitute was called an Olympia). According to the critics Manet’s figure was not known as a “nude” figure, but was known as a “naked” figure due to the thin black ribbon that she had tied around her neck, the golden bracelet that she had around her arm, the fashionable slippers that she was wearing and finally the Orchid flower that she had on the side of her hair. Critics not only gave Manet a hard time because of his subject matter and the story that he was narrating with it, but also gave him a hard time because of the “un-finished” look that he had given to his painting by using the color patch technique.

The main subject of the painting is Madame de Pompadour, who sits half reclining, engulfed by yards and yards of colorful fabrics, with gilded furnishings and flowers galore, a celebratory painting of a “femme savant” (Goodman 1), at ease in her surroundings. Books and papers fill the scene, proclaiming her intellectual prowess. An educated woman, Pompadour is

In late 19th century Paris, cafés-concerts (best described as “glorified beer halls” (Clark 206)) were a very popular destination for the people of Paris. Cafés-concerts became an integral part of Parisian social life, as they were visited by hundreds of people each night, regardless of class. A bar at the Folies Bergère became the topic of Edouard Manet’s last painting, as Manet tried to portray the new, “modern” Paris, and the introduction of mass production during this time. A Marxist art historian, T.J. Clark finds this particular painting important because it revealed a lot about the new, modern Paris, and Manet’s intentions with the painting. Clark focuses more on the emergence of the new social class during this time, and how this affected the role of women in Paris. The painting, A bar at Folies Bergère, has historical significance because of how it depicts modernity in the context of the emergence of a new social class (the petite bourgeoisie), the introduction of mass production, and the changing role of women.

Edouard Manet was a French painter who used everyday subjects just for an occasion to make a painting. He was a leading artist in the transition from realism to impressionism. Therefore, he is known as the “godfather of Impressionism” (Rosenbum). For some people Manet was the first

Mme Charpentier and her Children was a portrait and painted in the 1878 by Auguste Renoir a painter who resided in Limoges. The subject is identifiable because she is in the center of the room. The paint that was used was oil and work of art is impressionism. Also In this essay I am going to depict or take apart this work of art by breaking down each element. For example, the subject and general observation of the work of art. Along with the shape and form, medium and technique, the composition and the color of a work of art. Light and shadow and texture of a piece of art work. All of these elements create one single piece of art work.

There is an overt sense of leisure and intimacy established through the social exchanges in this painting. A man in the foreground is playing a guitar to a lady, which adds a cheery, relaxed mood. On the right side of the painting, children play on the ground, which shows how this is a joyful event. While there are many social interactions being made, the people in this painting are very generalized. Watteau purposely does not paint many of the people’s faces to put emphasis on the landscape and setting.

The art and beauty in this painting is exemplified through the eyes of Boucher. It starts with a beautiful couple taking a rest after picking up some followers. Their clothing looks very elegant and colorful which shows that they are aristocrats. The man’s eyes are gazing at a shepherdess who gathered her own flowers. Their eyes are locked despite the man having his own woman right in front of him. The light brushstrokes of the dresses, flowers, and trees

Tradition to this time era, Manet’s techniques were extraordinary and brush strokes become much less developed. Most of his brush strokes have been done in free handed. Focusing on the nude female, her skin is not smoothed out with value of color and brush techniques. Also the background is containing a rough brush strokes. During this time period, most of the artists are hiding brush strokes for their technique, but Manet did the opposites. It is obvious to see each brush stroke in nude female giving a rough complexion. In the background, also this style of rough brush strokes are made noticeable, and this even seems unfinished. Manet was free with technique. He did not try to hide or to follow the trends; indeed, some scenes in the painting seem unfinished.

He knows that if he was considered well off by the people in Les Halles, that he would be a much more successful artist. Not only does this social construct of beauty norms of the time express itself in social class, but it is also present in terms of political views.

In the center of the painting is Plato on the left and Aristotle on the right. These two are showing the two parts within philosophy, Timaeus and Ethics. The other philosophers on the sides are ‘corresponding to the separate schools of thought within the two major divisions, each carrying on the philosophical arguments for which they were famous (Fleming, 304). Plato: (428-c. 347 BC) was a Greek philosopher and one of the most creative and influential thinkers in Western philosophy. Plato founded the Academy in Athens, the institution often described as the first European

The critic was not entirely wrong to accuse Monet of utilizing a painting style vastly different from the era. Rather than striking detail, impressionism thrives more on the idea of contrasting colors, and the effect can be powerful, with complementary colors popping off of the canvas. In both figure one and figure two, there is little that is bounding the numerous objects from flowing into each other and becoming indistinguishable as a blade of grass or a chunk of ice floating on water. Moreover, the movement does not prioritize clarity of its structure in that the colors are often mixed on the cloth itself, which creates the thick outstanding layers. The murky reddish sky against the bright white ice was his way of catching one’s attention and provoking deeper observation and thought about the words the piece

One of Manet's painterly techniques during the 1860s was to compose by drawing upon earlier motifs, fusing them with new sensibilities. This allowed Manet to inject a healthy dose of irony into his work, as well as social commentary. The juxtaposition of outmoded motifs with new motifs was a thematic parallel to his juxtaposing outmoded social norms with new ones. Replacing old ideas, events, and people with contemporary ideas, events, and people allowed Manet to suggest a historical continuity, and the cyclical nature of history. Moreover, Manet could hearken to the recesses of his viewer's mind to draw attention to the artist's message. By the 1880s, Manet became adept at using quotations in his work. In The Execution of Maximilian, for example, Manet evokes the work of Spanish artist Francisco Goya. Manet remained an ardent admirer of Spanish art

time. The subject is a real female courtesan lying nude on a bed in a