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The title A Bar at the Folies-Bergère might lead you to expect a straightforward portrayal of a typical evening in 19th-century Paris. However, Édouard Manet's 1882 masterpiece is filled with intrigue, from the mysterious expression of its central figure to the clever illusions embedded in its execution.
1. A Bar at the Folies-Bergère is an impressive visual experience.
At a substantial size of 37.8 inches by 51.2 inches, this artwork commands attention. Additionally, Manet incorporated fascinating details, such as a woman gazing through opera glasses, prompting the viewer to speculate on what lies beyond the boundaries of the painting.
2. The scene unfolds in a popular Parisian hotspot.
Founded in 1869, Folies-Bergère was not just a bar but a renowned music hall where the upper middle class of Paris gathered for an array of extravagant performances, including ballet, cabaret, acrobatics, pantomime, operetta, and animal acts. As one might expect with such an eclectic mix of entertainment, the venue also became a favorite spot for artists seeking inspiration.
3. The painting wasn't created at the bar.
Although Manet made several preparatory sketches on-site, he actually worked on this large-scale masterpiece within the comfort of his studio.
4. A trapeze artist is nearly hidden from view.
If you look to the upper left corner of A Bar at the Folies-Bergère, you'll spot a pair of green slippers dangling from two pale legs, which are positioned on a swing. These limbs belong to an acrobat performing for the elite clientele of this extravagant bar. Just another typical night at the Folies-Bergère!
5. A familiar beer brand makes an appearance.
To the right of the red wine bottle, you'll notice a brown bottle adorned with a red triangle on its label—this marks the UK's first registered trademark. The logo belongs to Bass Brewery, founded in 1777 and still in operation today.
6. A Bar at the Folies-Bergère faced criticism for its unconventional perspective.
At first glance, the balconies and grandiosity of the titular bar may appear to be behind the poised barmaid. However, a closer look at the bottles to her left and the woman turned away on her right reveals that these are actually reflections in a mirror, with the gold frame visible just behind her wrists. This use of perspective sparked confusion. Is the viewer supposed to be the mustachioed gentleman on the right? If so, the angles of the mirror seem distorted. Could it be a mistake on Manet's part?
7. The unique perspective sparked much discussion.
Some argue that the seemingly flawed perspective was meant to offer us two contrasting views of this woman's experience. In the reflection, she seems to lean in, engaging with her customer, perhaps even flirtatiously. In the physical world, however, she appears indifferent, if not aloof, to his presumed advances. If we're meant to take on the role of the man, did Manet intend for us to sympathize with her or with him?
8. The barmaid could be a prostitute.
Nearly two decades earlier, Manet had caused a stir with The Luncheon on the Grass and Olympia, which were seen as depictions of prostitutes at work. He wouldn't have shied away from addressing similar themes here. In fact, it wouldn't have been far-fetched to suggest that the barmaids at the famed Folies-Bergère were selling more than just drinks—writer Guy de Maupassant famously referred to them as “vendors of drink and of love.” Some viewers have speculated that this double life is what the painting's mirror truly reflects.
9. Manet painted her again.
Today, we know her simply as Suzon. She was a real barmaid at the Folies-Bergère, where it's likely she first crossed paths with Manet. He also painted her in a portrait now known as Model for the barmaid of A Bar at the Folies-Bergère, which is housed in the Musée des Beaux Arts in Dijon.
10. The apparent intimacy might just be an optical illusion.
Art historian Malcolm Park conducted a photographic reconstruction and diagram to determine the positions of the barmaid, the top-hatted customer, and the viewer in the actual bar setting. His research suggested that the viewer isn't the man in the painting, but someone approaching from the right, which would explain why they're not reflected in the mirror. This perspective creates the illusion of closeness between the reflected man and woman, but even this revelation leaves Manet's emotional intentions open to interpretation.
11. An earlier version of the painting offers an intriguing contrast.
The preliminary sketch Le Bar Aux Folies-Bergère shows that Manet originally experimented with a composition where the barmaid was more clearly turned toward her customer, which would have adjusted the confusing perspective.
12. X-ray analysis uncovered a significant change during the painting process.
Scans revealed that Manet initially painted the barmaid with her arms crossed at her waist, her right hand resting on her left forearm above the wrist. This pose was closer to the early sketch than the final version and conveyed a sense of greater vulnerability.
13. Las Meninas might have influenced Manet.
Diego Velázquez's unconventional royal portrait from 1656 also played with perspective, sparking centuries of debate and interpretation. Manet was a well-known admirer of Velázquez's 17th-century works, and art historians speculate that A Bar at the Folies-Bergère is his own artistic response to this puzzling and seemingly candid portrait.
14. It was Manet's final major masterpiece.
Manet's remarkable career was marked by pioneering works that bridged the divide between Realism and Impressionism, often stirring controversy. When the Paris art world struggled to recognize his genius, he personally funded his own exhibitions. In 1882, A Bar at the Folies-Bergère made its debut at the prestigious Paris Salon. The artist’s health was rapidly declining as he labored to finish this masterpiece, which would become one of his most celebrated. Manet passed away at 51 the following April, with A Bar at the Folies-Bergère still in his studio.
15. This Parisian scene now resides in London.
Samuel Courtauld, an English industrialist and passionate art collector, donated an impressive collection of works to The Courtauld Gallery upon co-founding it in 1932. A Bar at the Folies-Bergère is not only one of the many Manet pieces housed in the London museum but also one of its most iconic and renowned works.
