The Memory of ‘A Bar at the Folies-Bergere’ (2006)

by Christopher Orapello

Chalk this discussion of A Bar at the Folies-Bergere by Edouard Manet up with the rest found within history and artist-roundtables. Again, the constant variations of interpretations full of self imposed assumptions and deciphering astounds me. Some of what was said about this work by Manet I can understand since some of the interpretations stem from an understanding of the Parisian culture of the late 19 century or at least are attempting to base their interpretation on the mentality of that time period. However, some of the interpretations seem to be full of the critic’s perspective and political agenda whether they are gender, culturally, or societal based. Regardless of the history of the depicted establishment why must this image be of a prostitute? Why not simply a barmaid tending the bar? Why does her expression get interpreted in so many different ways like da Vinci’s Mona Lisa? Why can’t depicted woman simply be a barmaid who has been suddenly approached by a customer and is waiting for them to speak? To me, this image portrays the momentary silence between a customer and an employee who is listening for the needs of the patron who also happens to be the viewer.

Few of the interpretations offered address the image itself. Though some mention was made by Jack Flam, a recent art historian, of the two identifiable women in the background of the left side of the painting who were possibly actual people which I would agree with. Out of the entire establishment only five individuals actually appear to have an identity and stand out from the rest of the scene conveying some sort of significance to the viewer. The other three people I am referring to, aside from the two woman on the left, are the barmaid, the gentleman facing the barmaid in the reflection (said to be Manet himself), and the gentleman in the background to the left of the woman with the lemon yellow gloves (said to be Mery Laurent, a mistress and stage performer of the time). The two men appear to be the same person (possibly Manet) since both can be identified and connected by their moustache. If this were all true then the image could possess an even greater interpretation than simply a barmaid and a scene in the once popular Folies-Bergere; an interpretation that was not mentioned in the text.

The image to me reads as a nostalgic montage of Manet’s experiences at the Folies-Beregere, assuming he is also the gentleman on the left side with the assumed Mery Laurent whom he may or may not have known. The image also depicts him at the bar face to face with the barmaid implying that the painting could have been meant for only Manet himself to enjoy. For instance, if we did not have the reflection of the gentleman on the right to personalize the relationship in the image with the barmaid, then the painting could be experienced by anyone who walked up to it as if they were walking up to the bar to order a drink; but this is not the case because the barmaid is waiting on a specific person (assumed to be Manet). So, in reality, if Manet walked up to the painting, he would come face to face with the barmaid similar to how he would in real life if he were at the bar; he would see the barmaid and his reflection on the right as she patiently waited for him to speak or to order a drink. As he waited at the painting pondering his order, he would be able look into his past and those who were a part of it; reliving past moments at the Folise-Bergere, like his conversation with Mery Laurent or the performance of the acrobat, all while in the silence of his studio. Since, he was ill during the creation of this image he probably did not frequent the club as much and so this image allowed him to still visit and experience a part of his life that was slowly slipping away. Although depressing and sad, I feel this to be a more interesting and sentimental way to view this painting. Not only allowing the viewer to enjoy Manet as an artist but as a person as well.