Itania is one picture. Bar in Foli-Berger Mana. Description of the painting of Edward Mana "Bar in Foli - Berger Description of the painting of Edward Mana" Bar in Foli - Berger "
Eduard Mana. Bar in "Foli-Berger". 1882 Institute of Art Kurto, London.
Eduard Mana wrote his picture "Bar in Foli-Berger at the end of his life, being already a very sick person. Despite its illness, he created a picture that differs from all previous works.
Basically, its work is unambiguous and concise. "Bar in Foli-Berger, on the contrary, encompasses a number of mysteries that do not give rest to the not indifferent observer.
The picture shows the Girl-saleswoman Bar in the famous still cafe-variges "Foli-Berger" (Paris, ul. Rishe, 32).
Here the artist loved spending time, so he was very familiar to him. So the cafe looks in reality:
Cafe-cabaret "Foli-Berger" in Paris these days 
Cafe-cabaret "Foli-Berger" in Paris today (internal interior) Real girl and mirror
The main riddle lies in the difference between what the bar and saleswoman looks like in the foreground of the picture compared to their display in the rear mirror.
Pay attention to how thoughtful and even sad girl saleswoman. It seems that she even has tears in their eyes. In the setting, variety it should be smiled sooner and flirt with visitors.
This, by the way, occurs in the reflection of the mirror. The girl slightly leaned toward the man's buyer and judging by a slight distance between them, their conversation is intimate.
Eduard Mana. Bar in "Foli-Berger" (fragment). 1882 Institute of Art Kurto, London. Unusual signature picture
Bottles on the bar stand also differ in their location from displayed in the mirror.
By the way, the date of writing a picture and his signature mana put directly on one of the bottles (the gloss bottle of pink wine): MANET. 1882.
Eduard Mana. Bar in "Foli-Berger" (fragment). 1882 Institute of Art Kurto, London. What makes Mane wanted to tell us with the help of these mysteries? Why is the girl in front of us even differ from the one that is displayed in the mirror? Why are items on a bar rack change their location in reflection?
Who posted mana?
The artist posed the real saleswoman named Suson from the cafe "Foli-Berger". The girl was well acquainted mana. 2 years before writing the original painting, he painted her portrait.
It was an ordinary practice for artists: to have a portrait of a model in case of her failure to pose. To always be able to finish the picture.
Eduard Mana. The model for the painting "Bar in Foli-Berger". 1880 Museum of Art at the Palace of the Dukes of the Burgu, Dijon, France. Perhaps the Suson shared with Maen his vital history, and Manne decided to portray her inner state and the role of the coquette, which she forced to play a bar counter?
And maybe we are afraid of what is happening in the present time, and in the reflection - the last girl is, so the image of objects is different?
If you continue this fantasy, it can be assumed that in the past the girl was too close to the gentleman. And it turned out to be in position. It is known that the saleswomen in such varieties were called girls who "served drinks, and love."
Mr., of course, did not break his legitimate marriage because of the maiden. And as often happens in such stories, the girl was alone on his hands with a child.
She is forced to work to somehow survive. Hence sadness and sadness in her eyes.
X-ray picture of the picture
Another unusual and hidden painting detail we can see thanks to the X-ray. It can be seen that in the original version of the picture, the girl holds hands crossed on the stomach.
from Impression / FR./ - Impression (1874-1886)
Direction in art originated in France. This name, the style that has had the most serious impact on the development of world art, thanks to the sarcastic label invented by Louis Louroy, who came up with a sarcastic label. Mockery of the truncated title of the picture of Claude Monet "Impression. Sunrise" (Impression. Soleil Levant) later turned into a positive definition: it clearly reflects the subjectivity of the vision, interest in a specific moment of constantly changing and unique reality. Artists, from the challenge, accepted this epithette, afterwards he had taken root, lost his original negative meaning and became active. Impressionists tried to convey their impressions of the world as accurately as possible. For this purpose, they refused to comply with existing painting rules and created their own method. Its essence came down to the transfer with the help of separate smears of clean paints, an external impression of light, shadow, on the surface of the items. Such a method created in the picture the impression of the dissolution of the form in the surrounding light-airspace. Claude Monet wrote about his work: "My merit is that I wrote directly from nature, trying to convey my impressions of the most non-permanent and volatile phenomena." The new course was distinguished from academic painting both in technical and ideological terms. First of all, the impressionists abandoned the contour, replacing it with small separate and contrasting strokes, which they imposed in accordance with the theories of the color of Chevreil, Helmholtz and Ore. The sunbeam is split into the components: purple, blue, blue, green, yellow, orange, red, but since blue is a kind of blue, then their number is reduced to six. Two paints laid nearby enhance each other and, on the contrary, when mixed, they lose the intensity. In addition, all colors are divided into primary, or basic and dual, or derivatives, with each twin paint is additional to the first: blue - orange red - green yellow - purple, thus it became possible not to mix paint on the palette and get The desired color by the correct imposition of them on canvas. This later became the reason for the abnormal.
Artists: Paul Cézanne, Edgar Dega (Edward Henri Paul Gauguin), Edward Mane (édouard manet), Claude Monet (Oscar-Claude Monet), Berthe Morizo \u200b\u200b(Berthe Morisot), Camille Pissaro ( Jacob Abraham Camille Pissarro), Pierre Auguste Renoir (Pierre-Auguste Renoir), Alfred Sisley.
Exhibitions: Everything was eight, the first one took place in 1874 in Paris, in the studio of the Nadar photographer, Kapuchin Boulevard, 35. Subsequent exhibitions, up to 1886, in various salons of Paris.
Texts: J.A. Kastanyari "Exhibition on Kapuchin Boulevard. Impressionists", 1874; E.Dyuranti "New Painting", 1876; Tyur "Artists-Impressionists", 1878.
Description of some works:
Pierre Auguste Renoir "Ball in Moulin de la Gaette", 1876. Canvas, oil. Paris, Museum d'Ors. The famous establishment of Montmartre "Moulin de La Gaette" was considered not far from Renoara housing. He went there to work on, and friends depicted in this picture, often helped him wear canvas. The composition is composed of a variety of figures, it creates a complete feeling of the crowd, captured by the joy of dance. The impression of the movement, which is full of picture, occurs due to a dynamic style of painting and light, freely falling glare on faces, costumes, hats and chairs. Like through the filter, he passes through the foliage of the trees, changes the chromatic gamut in the kaleidoscope of reflexes. It seems that the movement of the figures continues and enhance the shadows, everything together is connected in thin vibrations that transmit the feeling of music and dance.
Pierre Auguste Renoir "Ball in Moulin de la Gaette", 1876
Eduard mana "Bar in Foli Berger", 1881-1882. Canvas, oil. London, Gallery of the Kurto Institute. It is difficult to determine the definite genre of the last big picture Mana - "Bar in Foli-Berger" exhibited in the cabin in 1882. The picture is peculiar to the image of the life, and the portrait, and still life, which acquires a completely exceptional here, although not paramount importance here. All this is united in a scene of modern life, with extremely prose-scene motivation (which can be the chamber of the saleswomen for a bar of the bar?), Proved by the artist into the image of high artistic perfection. The mirror behind the bar stand, behind which there is a nameless heroine of the canvas, reflects a crowded hall, luminous chandelier, legs under the ceiling of the acrobatki, a marble board with bottles and the girl itself, to which Mr. in the cylinder is suitable. For the first time, the mirror forms the background of the whole picture. The space of the bar, reflected in the mirror behind the back of the saleswoman, expands to infinity, turns into a sparkling garland of lights and color glare. And the viewer facing the picture is involved in this second environment, gradually losing the feeling of the face between the real and reflected world. A straight look of the model violates the deceptive extension (L'Absorption) - the traditional reception of the record of the main character of the picture concentrated by their affairs and as if not a noticeing viewer. Here, on the contrary, mana uses direct sharing views and "explodes" the closedness of the image. The viewer is involved in an intense dialogue and is forced to explain what is reflected in the mirror: the relationship between the wax and mysterious character in the cylinder.
Eduard Mana. Bar in Fouls Berger
It is difficult to determine the definite genre of the last big painting mana - "Bar in Foli-Berger" exhibited in the cabin of 1882. Few whoever knows that after the Paris auctions, where no one wanted to buy it, she fell in 1912 to Russia and, our compatriots would be faithful, would not have left soon in England, where she is. In the painting "Bar in Foli-Berger", the image of the life, and a portrait, and still life, acquiring a completely exceptional, although not paramount importance here. All this is united into the scene of modern life, with extremely prosaic plot motivation (which can be the rack of saleswomen at the bar of the bar?), The artist's image of high artistic perfection. "Bar in Foli-Berger" seems to be summarized by creative searches Mana. And in comparison with his early masterpieces, primarily with Olympia, gives an idea of \u200b\u200bthe path that the artist passed in 18 years, separating these works. "Bar in Foli-Berger" embodies a much more direct sense of life. The mirror behind the bar stand, behind which there is a nameless heroine of the canvas, reflects a crowded hall, luminous chandelier, legs under the ceiling of the acrobatki, a marble board with bottles and the girl itself, to which Mr. in the cylinder is suitable. For the first time, the mirror forms the background of the whole picture. The space of the bar, reflected in the mirror behind the back of the saleswoman, expands to infinity, turns into a sparkling garland of lights and color glare. And the viewer facing the picture is involved in this second environment, gradually losing the feeling of the face between the real and reflected world. This unsubstantial, crushing world, picturesquely understood as a flickering stuffy meseno, is the environment where the girl is lonely and approximately there is a girl. Its fixed figure is located strictly in the center and is a meaningful and shaped focus composition. The color is thickened, the contours are determined, the brush slows down the movement and rands the canvas more densely. It seems to be causing a gentle face of a girl, her blond hair, light skin, shaded with black velvet with clean blue shadows and translucent blue lace. Ensured from everything around, even from the interlocutor, the girl looks sadly, slightly scattered and puzzily. It seems that the rack of the bar simultaneously carries it to the vulgar world of ordinary and protects him, because the brush mana transforms the most banal items. And the girl itself is the embodiment of femininity and grace - seems to be a fabulous fair, alienated from his environment, and this is emphasized by the expression of her gentle face: dreamy and sad. But, reflected in the mirror, her figure leans with a learned grace to the approached visitor. The perfection of the "Bar in Foli-Berger", shown in the Salon of 1882, was so obvious that it was already finally, no one tried to challenge. After the closure of the salon, Mane, finally, was officially announced by the Kavaler of the Order of the Honorary Legion.
This summer, Edward spent near Paris in Rueye, but was too sick to deal with any exciting work. He worked as pastel and watercolor. When in the fall he returned to Paris, his friends alarmed his state. Winter did not bring improvements. In early 1883, the Force began to leave him and he was forced to keep in bed. As a result of the paralysis, his left leg threatened Hangrena, and to prevent it, two surgeons offered amputation. Mana agreed, and on April 19, 1883 at 10 o'clock the operation was produced. The foot was amputated above the knee. Mana did not feel any pain. The operation was quite safe, and did not foresee any threat. But, alas! Hope this quickly dispersed: after a few days the patient covered the terrible fever, accompanied by terrible convulsions. At the same time, the doctor was warned that the sick would live alone day. This gloomy prediction came true ... On April 30, 1883, Mane died ....
Award the long-awaited second reward for the portrait of the hunter on Lviv. Pertuise. After that, Mane becomes outside the contest and can exhibit its paintings, without any permission of the jury of the cabin.
Manna is decided to make something completely unusual for the art salon, at the beginning of 1882, where his paintings will appear with a special mark "V. TO".
Do you believe in astrology and predictions of the stars? Millions of people trust forecasts that make up various astrologers. Guru among such predictors is Pavel Globa. No one knows more about the stars of the stars than the globa.
To him, finally, the long-awaited glory comes, but his illness progresses millet inexorably and he knows about it and therefore, he is gnawing. Mana is trying to resist severe illness. Is it really not able to raise the disease?
Mana decides to collect all his strength and will, he is still trying to bury it early. It can be seen in the cafe "New Athens", in the cafe Bad, at Tortoni, in Foli-Berger and his friend. He tries all the time to joke and ironize, having fun about his "immense" and jokes about his leg. Mane decides to carry out its new idea: draw the scene from everyday Parisian life and depict the view of the famous bar Foli Berger, in which the charming girl is sunson, in front of numerous bottles. The girl knows many regular visitors of the bar.
Picture "Bar in Fouls Berger"This is a product of extraordinary courage and picturesque detullness: a blond girl stands behind a bar, behind her a large mirror, which reflects the big hall of the institution with the public sitting in it. She has an ornament on a black velvet on her neck, her gaze is cold, she is stadding still, she looks indifferently on others.
This complex plot of the canvas is moving away with great difficulty. The artist beats over him and repeats repeatedly. In early May 1882, Mane gives the picture and becomes happy contemplating it in the cabin. Over his paintings, no one laughs more, all of his paintings are considering with great seriousness, they begin to argue about the real works of art.
His last work "Bar in Foli-Berger" created as if she slipped with a life that was so valued, which was so admired and thought a lot. The work has absorbed all the fact that the artist was looking for so long and found in any inconspicuous life. The best images burst together to be embodied in this young girl, which stands in a noisy Parisian Kabash. In this institution, people are looking for joy contacting with themselves similar, here the seeming fun and laughter reigns here, a young and sensitive master opens the image of a young life, which is immersed in sadness and loneliness.
It is difficult to believe that this work was written by a dying artist to which any hand moved pain and suffering. But even before death, Edward Mana remains a real fighter. He had to go through a difficult life path before he discovered the true beauty that he was looking for his whole life and found it in ordinary people, finding in their soul the inner wealth to which he gave his heart.
Eduard Mana - Bar in Foli-Berge 1882
Bar in fouls
1882g 96x130cm canvas / oil
Courtauld Institute Of Art, London, UK
From the book of Reald John. "History of Impressionism"In the 1882 salon, Mane, now coming out of the competition, put a big picture of the "Barger Bar" bar, an impressive composition written with extraordinary virtuosity. He once again showed the power of his brush, the subtlety of observations and the courage not to follow the pattern. Like a degi, he continued to show a constant interest in the themes of modernity (he was even going to write a driver on a locomotive), but approached them not as a cold observer, but with the hot enthusiasm of the researcher of new phenomena of life. By the way, Dega did not like his last picture and called her "boring and sophisticated." "Bar in Foli-Berger" cost mana big effort, since he began severely suffering from ataxia. He was disappointed when the audience again refused to understand his picture, perceiving only the plot, and not the skill of execution.
In a letter to Alberta Wolf, he could not resist hesitant to hear, in the end, I wouldn't have anything to read anything, while still alive, the magnificent article you write after my death. "
After the closure of the salon, Mane was finally officially declared by Cavalier of the Honorary Legion. No matter how much his joy was, some bitterness was mixed. When the critic congratulated it to him, and also handed him the best wishes of the Count Ruverkerka, Mana answered sharply: "When you write a Ruverkerka Count, you can tell him that I appreciate his tender attention, but that he himself had the opportunity to give me this award. He could Make me happy, and now it's too late to compensate for twenty years of failure ... "