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A 9 page research paper that offers a comprehensive evaluation and interpretation of this masterpiece by Edouard Manet. Bibliography lists 6 sources.
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9 pages (~225 words per page)
File: KL9_khmanetflb.rtf
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Unformatted sample text from the term paper:
history of art, as with Manets art, "one world ended and another began" (Neret, 2003, p. 7). This is because the "great adventure of modern painting, freed of anecdote and
false conventions begins with Manet" (Neret, 2003, p. 7). While Manet was criticized "for seeing the external world only swathes or dashes of color, as though he were permanently dazzled,"
Matisse observed that Manet was the first artist to "act on reflex and thus simplify the painters business... expressing only what directly touched his senses" (Neret, 2003, p. 7).
Manets the Bar at the Folies-Bergere (1882) is considered to be a masterpiece of Impressionist art. The following interpretation of this work considers
the representation of both reality and fantasy, particularly in regards to the way in which Manets usage of space between the subject and the viewer. The interpretation will also be
related to Monets personal life, as well as focusing on his use of mirrors and the purposes of the barmaid. Manets career and artistic style Throughout his life, Manet
consistently insisted on pursuing his distinct artistic vision and, therefore, succeeded in creating "an Impressionism of his own which will always remain his own," as Manets work is unlike that
of any other artists and "cannot be confused either with Monet, or with Pissario or Renoir" (Mauclair, 2007, p. 51). In regards to the Bar, Matisse made the observation
that Manet recorded "only what immediately touched his senses" (Strickland, 2007, p. 101). As this suggests, in Impressionism, the most important aspect of a work is the subjective reality of
the artist. As Strickland points out, "Far more important than the cabaret bar or barmaid, the subject of the painting is the painters sensory impressions rendered through color" (Strickland, 2007,
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