"barmaid gazes out of frame, observed by a shadowy male figure. The whole scene appears to be reflected in the mirror behind the bar, creating a complex web of viewpoints. Wall borrows the internal structure of the painting, and motifs such as the light bulbs that give it spatial depth. The figures are similarly reflected in a mirror, and the woman has the absorbed gaze and posture of Manet's barmaid, while the man is the artist himself. Though issues of the male gaze, particularly the power relationship between male artist and female model, and the viewer's role as onlooker, are"
"so intense that he forced Haussmann to become a scapegoat, hoping his resignation would satisfy the bourgeois parties which had become increasingly angered during the economic depression of the late 1860s. Haussmann's plans, with their radical redevelopment, coincided with a time of intense political activity in Paris. Many Parisians were troubled by the destruction of ""old roots"". Historian Robert Herbert says that ""the impressionist movement depicted this loss of connection in such paintings as Manet's ""A Bar at the Folies-Bergère""."" The subject of the painting is talking to a man, seen in the mirror behind her, but seems disengaged. According"
"1947 film ""The Private Affairs of Bel Ami"" faithfully references ""A Bar at the Folies-Bergère"" twenty nine minutes into the film with a look-alike actress, set and props as the main characters enter the establishment. The painting was the inspiration of a song (possibly by Sydney Carter) in the popular theatre production ""The Lyric Revue"", in London in 1951. The refrain went ""Oh, how I long to be Back in my dear Brittany ... But fate has chosen me For the bar at the Folies-Bergères"". The painting ""The Bar"" (1954) by Australian artist John Brack, which depicts a comparatively grim"
"his best-known students may be numbered Paul-Émile Bécat, Roger Bissière, André Fau, Luis Ricardo Falero and Albert Lynch. Gabriel Ferrier Gabriel-Joseph-Marie-Augustin Ferrier (29 September 1847 in Nîmes – 6 June 1914 in Paris) was a French portrait painter and orientalist. His father was a pharmacist. He began his studies at the École des Beaux-Arts, where he worked with Ernest Hébert and Isidore Pils. His first exhibit was at the Salon in 1869. Two years later, he was awarded the Prix de Rome for his depiction of a scene from the Flood and studied at the French Academy in Rome from"
"Gabriel Ferrier Gabriel-Joseph-Marie-Augustin Ferrier (29 September 1847 in Nîmes – 6 June 1914 in Paris) was a French portrait painter and orientalist. His father was a pharmacist. He began his studies at the École des Beaux-Arts, where he worked with Ernest Hébert and Isidore Pils. His first exhibit was at the Salon in 1869. Two years later, he was awarded the Prix de Rome for his depiction of a scene from the Flood and studied at the French Academy in Rome from 1873 to 1876. Upon returning to France, he specialized in painting portraits of notable figures connected with the"
"Marie-Anne-Julie Forestier Marie-Anne-Julie Forestier (13 June 1782 - after 1843) was a French painter. Born in Paris, she became a pupil of Jacques-Louis David and in June 1806 became engaged to Jean-Dominique Ingres. However, Ingres left for Rome that September and the engagement did not survive until his return to France, since he won the first prize for painting in 1801 and thus had to stay in Rome. She exhibited at the Paris Salons of 1802, 1810, 1812, 1814 and 1819. Her works include a portrait of Philippe Pinel with his family and a copy of Ingres' ""Self-Portrait Aged 24"""
"Antoine-Louis Barye Antoine-Louis Barye (24 September 179525 June 1875) was a Romantic French sculptor most famous for his work as an ""animalier"", a sculptor of animals. His son and student was the known sculptor Alfred Barye. Born in Paris, France, Barye began his career as a goldsmith, like many sculptors of the Romantic Period. He first worked under his father Pierre, and around 1810 worked under the sculptor Guillaume-Mertin Biennais, who was a goldsmith to Napoleon. After studying under sculptor Francois-Joseph Bosio in 1816, and painter Baron Antoine-Jean Gros, he was in 1818 admitted to the École des Beaux-Arts. But"
"aux Folies Bergère"", the Tate Modern wall text for ""Picture of Women"", from the 2005–2006 exhibition ""Jeff Wall Photographs 1978–2004"", outlines the influence of Manet's painting: In Manet’s painting, a barmaid gazes out of frame, observed by a shadowy male figure. The whole scene appears to be reflected in the mirror behind the bar, creating a complex web of viewpoints. Wall borrows the internal structure of the painting, and motifs such as the light bulbs that give it spatial depth. The figures are similarly reflected in a mirror, and the woman has the absorbed gaze and posture of Manet’s barmaid,"
"Raoul Barré Vital Achille Raoul Barré (January 29, 1874 – May 21, 1932) was a Canadian and American cartoonist, animator of the silent film era, and artist. Barré was born in Montreal, Quebec, the only artistic child (out of twelve) of an importer of communion wine. He studied art at the École des Beaux-Arts in Paris, France, starting in 1891, and remained there for several years as a political cartoonist—he was a loud critic of the unjust trials of Captain Alfred Dreyfus. One of Barré's opponents in the war of words and cartoons was Émile Cohl, writing anonymously. On returning"
"Alfred Barye Alfred Barye ""Le Fils"" or Alf Barye (Paris, France, 21 January 1839 – Paris, France, 1882) was a French sculptor, of the Belle Époque, pupil of his father the artist Antoine-Louis Barye. In cooperation with Émile-Coriolan Guillemin, Barye did the artwork for """"The Arab Warrior Knight on Horseback"""". Included in Barye's oeuvre were animalier bronzes as well as Oriental subjects. At his father's request, he signed his work as ""fils"" to differentiate his work from his father's. Alfred Barye was born in Paris, France, on 21 January 1839, the son of Antoine-Louis Barye. He learned his craft of"
"Folies Bergère The Folies Bergère () is a cabaret music hall, located in Paris, France. Located at 32 rue Richer in the 9th Arrondissement, the Folies Bergère was built as an opera house by the architect Plumeret. It opened on 2 May 1869 as the Folies Trévise, with light entertainment including operettas, comic opera, popular songs, and gymnastics. It became the Folies Bergère on 13 September 1872, named after nearby rue Bergère. The house was at the height of its fame and popularity from the 1890s' ""Belle Époque"" through the 1920s. Revues featured extravagant costumes, sets and effects, and often"
"suggested there might be a ballet around the picture, also introducing can-can dancers. ""Bar aux Folies-Bergère"" was first performed on 15 May 1934 at the Mercury Theatre, Notting Hill, London. Although the role was created by Pearl Argyle, Schooling danced it subsequently. In 1938, her future husband Frank Staff did his first choreography for Ballet Rambert, in ""The Tartans"", a new version of Frederick Ashton's ballet of the same name, for three dancers, being himself, Schooling and Walter Gore, with music by Boyce. In 1939, Staff created ""Czernyana"" which used Czerny's piano exercises as the basis for a series of"
"Félix-Joseph Barrias Félix-Joseph Barrias (13 September 1822 – 24 January 1907) was a French painter. He was well known in his day for his paintings on religious, historical or mythical subjects, but has now been largely forgotten. Artists who trained in his studio and went on to achieve fame include Edgar Degas, Gustave Achille Guillaumet and Henri Pille. Félix-Joseph Barrias was born on 13 September 1822 in Paris. His brother was Louis-Ernest Barrias (1841-1905), who became a well-known sculptor. His father was a painter on porcelain, and taught Félix-Joseph Barrias, who proved to be an adept pupil and was able"
"of their attitude to Nature that such a position should be desirable."" Claude Lorrain Claude Lorrain (; born Claude Gellée , called le Lorrain in French; traditionally just Claude in English; c. 1600 – 23 November 1682) was a French painter, draughtsman and etcher of the Baroque era. He spent most of his life in Italy, and is one of the earliest important artists, apart from his contemporaries in Dutch Golden Age painting, to concentrate on landscape painting. His landscapes are usually turned into the more prestigious genre of history paintings by the addition of a few small figures, typically"
"on decorative art his name is written in advance. However, his paintings have not stood the test of time, and he is now largely forgotten. Citations Sources Félix-Joseph Barrias Félix-Joseph Barrias (13 September 1822 – 24 January 1907) was a French painter. He was well known in his day for his paintings on religious, historical or mythical subjects, but has now been largely forgotten. Artists who trained in his studio and went on to achieve fame include Edgar Degas, Gustave Achille Guillaumet and Henri Pille. Félix-Joseph Barrias was born on 13 September 1822 in Paris. His brother was Louis-Ernest Barrias"
"of everyday life, with all figures looking almost identical. A related painting ""The Bar"" (1954) was modelled on Manet's ""A Bar at the Folies-Bergère"", and satirised the six o'clock swill, a social ritual arising from the early closing of Australian pubs. Most of these early paintings and drawings were unmistakably satirical comments against the Australian Dream, either being set in the newly expanding post-war suburbia or taking the life of those who lived there as their subject matter. In the 1970s Brack produced a long series of highly stylised works featuring objects such as pencils in complex patterns. These were"
"Jules Laforgue Jules Laforgue (; 16 August 1860 – 20 August 1887) was a Franco-Uruguayan poet, often referred to as a Symbolist poet. Critics and commentators have also pointed to Impressionism as a direct influence and his poetry has been called ""part-symbolist, part-impressionist"". Laforgue was a model for Pierre-Auguste Renoir, including for Renoir's 1881 painting ""Luncheon of the Boating Party"". His parents, Charles-Benoît Laforgue and Pauline Lacollay, met in Uruguay where his father worked first as a teacher and then a bank employee. Jules was the second of eleven children in the family, the eldest child being Jules' brother Émile,"
"Paul Emmanuel Péraire Paul-Emmanuel Péraire (September 12, 1819, Bordeaux – January 21, 1893, Paris) was a French landscape painter of the Barbizon school. He was born in Bordeaux and originally worked as a stockbroker before studying painting under Eugène Isabey and Évariste Vital Luminais. It was not until he was nearly forty years old that he began to show his works which usually depict landscape or architectural subjects. He exhibited at the Salon from 1866 to 1892. He received a bronze medal at the Salon of 1880 for his painting ""The Seine at Saint-Dennis"" and his work ""L'Etang à Mortefontaine,"
"Paul-Jacques-Aimé Baudry Paul-Jacques-Aimé Baudry (7 November 1828 17 January 1886) was a French painter. Baudry was born in 1828 in La Roche-sur-Yon in the Vendée. He studied art under Michel Martin Drolling and won the ""Prix de Rome"" in 1850 for his picture of ""Zenobia found on the banks of the Araxes"". His talent from the first revealed itself as strictly academical, full of elegance and grace, but somewhat lacking originality. In the course of his residence in Italy Baudry derived strong inspiration from Italian art with the mannerism of Correggio, as was very evident in the two works he"
"containing original lithographs: The displayed a number of tapestries, including two by Hilaire in the Salon Fontainebleau, which was reserved for first class passengers: ""Sous-bois"", a work of 18m², and ""Forêt de France"". Camille Hilaire Camille Hilaire (2 August 1916 – 7 June 2004) was a French painter and weaver from Metz. He attended the École des Beaux-Arts in Paris during World War II and was also tutored by André Lhote. Hilaire began painting from a young age. Already at fifteen, he discovered the work of Albrecht Dürer in the Metz city library and began making copies of it. Some"
"he thought this created confusion between his work and that of his son. He forced his son to sign as ""A. Barye, fils"" or ""Alf Barye"" in order to distinguish their works. The senior Barye signed only one way throughout his entire career, simply marking his bronzes ""Barye"". Attribution: Antoine-Louis Barye Antoine-Louis Barye (24 September 179525 June 1875) was a Romantic French sculptor most famous for his work as an ""animalier"", a sculptor of animals. His son and student was the known sculptor Alfred Barye. Born in Paris, France, Barye began his career as a goldsmith, like many sculptors of"
"Suzette Morfield (a servant). Antony Tudor was the production stage manager. The scene is the Folies Bergère around 1870. The curtain opens on the barmaid looking into space then busying herself wiping off bottles and glasses. Adolphe and Gustave enter and orders drinks. A waiter, Valentin, is in love with the barmaid, whom he persuades to come from behind the counter to dance with him. When the can-can dancers appear (entering through the audience, as at the real Folies Bergère) and dance, she retreats behind the bar again. When La Goulue does her turn, Valentin becomes besotted with her, breaking"
"Ascanius Shooting the Stag of Sylvia Landscape with Ascanius Shooting the Stag of Sylvia is a painting of 1682 in oil on canvas by Claude Lorrain (Claude Gellée, traditionally just ""Claude"" in English), a painter from the Duchy of Lorraine who spent his career in Rome. It was painted in Rome for Prince Lorenzo Onofrio Colonna (1637–1689), Claude's most important patron in his last years, and is now in the Ashmolean Museum, Oxford. It is signed, dated with the year, and inscribed with the subject (at centre bottom), as Claude sometimes did with his less common subjects. It was Claude's"
"Vic-Wells Ballet from 1936 to 1938. Among the leading roles she danced during these years were the following. Argyle had left London in 1933 to go to Paris, where she danced with George Balanchine's short-lived company Les Ballets 1933, led by Tamara Toumanova and Tilly Losch. Back in London in 1934, she rejoined the Ballet Club and created the role of the barmaid in Ninette de Valois's ""Bar aux Folies-Bergère"", inspired by the famous painting by Édouard Manet. (This role was later taken by Elizabeth Schooling, who bore a remarkable resemblance to the girl in Manet's painting.) As the Fille"
"Ambroise-Marguerite Bardin Ambroise-Marguerite Bardin (1768-1842) was a French painter and pastellist. Born in Charmentray, Bardin was the daughter of painter Jean Bardin (1732–1809), with whom she studied; her mother was Marie-Madeleine Le Gein (c.1742–1805). On February 11, 1793, she married Pierre-François Mollière, a drawing teacher and assistant of her father's, in Orléans, and with him would later establish a porcelain factory. It appears that she abandoned painting upon her marriage. She also practiced engraving during her career. One ""Mlle Bardin soeur"" advertised drawing materials in a 1791 edition of the ""Journal de Loiret"", but evidence suggests this was the painter's"
"The tenor Achille-Félix Montaubry, who had formerly performed at the Opéra-Comique but had experienced a decline in the allure of his voice, purchased the Folies-Marigny in 1868, and produced an operetta of his own composition called ""Horace"". In April 1870 the theatre was taken over by Leduc. The last performance was in April 1881, and shortly thereafter it was demolished, to be replaced with a panorama designed by the architect Charles Garnier. In 1893 Garnier's panorama was converted by the architect Édouard Niermans into a new theatre, which opened on 22 January 1896 under the name Folies-Marigny, but this was"
"linear illustrations of John Flaxman; these remain as drawings only. Many other German works are recorded, some as late as the 1840s; word of the British scepticism over the Ossian poems was slow to pentetrate the continent, or considered irrelevant. In France the enthusiasm of Napoleon for the poems accounts for most artistic depictions, and those by the most famous artists, but a painting exhibited in the Paris Salon in 1800 by Paul Duqueylar (now Musée Granet, Aix-en-Provence) excited ""Les Barbus"" (""the Bearded Ones"") a group of primitivist artists including Pierre-Maurice Quays (or Quaï) who promoted living in the style"
"portraits of local people with meticulous detail. Publication Paintings Charles Bargue Charles Bargue (c. 1826/1827 – April 6, 1883) was a French painter and lithographer noted for devising an influential drawing course. He is mostly remembered for his ""Cours de dessin"", one of the most influential classical drawing courses conceived in collaboration with Jean-Léon Gérôme. The course, published between 1866 and 1871 by Goupil & Cie, comprised 197 lithographs printed as individual sheets, was to guide students from plaster casts to the study of great master drawings and finally to drawing from the living model. The Charles Bargue Drawing Course"
"Gabrielle Colonna-Romano Gabrielle Colonna-Romano (1888–1981) or ""Colanna Romano"" (name as a cinema actress), born Gabrielle Dreyfus, was a French actress, famous as a tragedian, sociétaire of the Comédie-Française from 1913 to 1936, and as a student of Sarah Bernhardt. She appeared in several plays and poetry readings (notably of works by the Symbolist poet Saint-Pol-Roux). She had an affair with Pierre Renoir, and modelled for several paintings by his father Auguste Renoir, notably ""Jeune femme à la rose"" (1913). In England, she met and became friends with Marie Bell, on whose advice she decided to present herself to the Conservatoire."
"scenes are observations of social life in 19th-century Paris. People are depicted drinking beer, listening to music, flirting, reading, or waiting. Many of these paintings were based on sketches executed on the spot. He often visited the Brasserie Reichshoffen on boulevard de Rochechourt, upon which he based ""At the Cafe"" in 1878. Several people are at the bar, and one woman confronts the viewer while others wait to be served. Such depictions represent the painted journal of a flâneur. These are painted in a style which is loose, referencing Hals and Velázquez, yet they capture the mood and feeling of"
"- the latter is now in the musée Ingres in Montauban. Marie-Anne-Julie Forestier Marie-Anne-Julie Forestier (13 June 1782 - after 1843) was a French painter. Born in Paris, she became a pupil of Jacques-Louis David and in June 1806 became engaged to Jean-Dominique Ingres. However, Ingres left for Rome that September and the engagement did not survive until his return to France, since he won the first prize for painting in 1801 and thus had to stay in Rome. She exhibited at the Paris Salons of 1802, 1810, 1812, 1814 and 1819. Her works include a portrait of Philippe Pinel"
"Portrait of Marie-Françoise Rivière Portrait of Marie-Françoise Rivière (also known as Portrait of Madame Rivière, or la Femme au châle) is a c. 1805 oil on canvas painting by the French Neoclassical artist Jean-Auguste-Dominique Ingres. Madame Rivière, born Marie-Françoise-Jacquette-Bibiane Blot de Beauregard, and known as Sabine, married Philibert Rivière de L'Isle, an influential court official in the in Napoleonic Empire, who commissioned this work, along with portraits of himself and their daughter, Caroline. The painting is composed from white, chilly blue, beige and ochre colours. It has an overall, deliberately flat and shadow-less appearance. The portrait has been described as"
"A recent example is Faceboyz Folliez, a monthly burlesque and variety show at the Bowery Poetry Club in New York City. Folies Bergère The Folies Bergère () is a cabaret music hall, located in Paris, France. Located at 32 rue Richer in the 9th Arrondissement, the Folies Bergère was built as an opera house by the architect Plumeret. It opened on 2 May 1869 as the Folies Trévise, with light entertainment including operettas, comic opera, popular songs, and gymnastics. It became the Folies Bergère on 13 September 1872, named after nearby rue Bergère. The house was at the height of"