1 A Bar at the Folies-Bergère Une Marchande de consolation ...€¦ · mirror P3 viewpoint G B B'...
Transcript of 1 A Bar at the Folies-Bergère Une Marchande de consolation ...€¦ · mirror P3 viewpoint G B B'...
1. Edouard Manet, A Bar at the Folies-Bergère, 1882; oil on canvas, 96 x 130 cm. © The Samuel Courtauld Trust, The Courtauld Gallery, London (P.1934.SC.234)
2. Positive print from a composite X-radiograph of: Edouard Manet, A Bar at the Folies-Bergère. © The Samuel Courtauld Trust, The Courtauld Gallery, London (P.1934.SC.234.X.png). Overlay: barmaid reflections at Stages 1 and 2 (B1, B2); Dupray reflection at Stage 1 (D1); © Malcolm Park
3. Perspectival analysis of: Edouard Manet, Oil sketch for A Bar at the Folies-Bergère, 1881; oil on canvas, 47 x 56 cm. Private collection. Image: Bridgeman Art Library. Overlay: perspectival analysis; © Malcolm Park
4. Stop, "Une Marchande de consolation aux Folies-Bergère.–…"; caricature, wood engraving, (image) 8.6 x 9.8 cm. Le Journal Amusant, 27 May, 1882, p.5
5. Barclay, Théâtre des Folies-Bergère, 1875; illustrated seating plan, detail. (image) 13.5 by 19.25 cm., from overall sheet, 15.5 x 38.5 cm. Bibliothèque nationale de France, Paris
B1
D1
B2
VPeye level
frieze
PLAN
VIEW FRAMES
SP
av-w
CV
VP
av-o
PP
SP Station-point, viewpointPP Picture planeVP Vanishing pointCV Centre of vision, 1P PerspectiveEL Eye levelav-w Angle of vision, wide-angle frameav-c Angle of vision, centre frameav-o Angle of vision, offset frame
VP
CVEL
VP
CVEL
WIDE-ANGLE FRAMEFrontal shaping of space
av-cav-o
OFFSET FRAMEFrontal and angledshaping of space
OFFSET FRAMEFrontal and angledshaping of space
CENTRE FRAMEFrontal shaping
of space
0 5m
bar
seating rows
seating rows
ground floorloges under
chandeliersabove
centre of offset viewframe from P1
centre of offset viewframe from P2
balconyfront
mirrors to side wall
mirrors to side wall
P2
cvcv
P1
Promenoirstage
columns under
loges
loges
loges
VP
VP
b. La prune as offset frame, with 1P-offset overlay
a. La prune as centre frame, with CP-frontal overlayLa prune
7. Edouard Manet, Plum Brandy (La Prune), c.1877; oil on canvas, 73.6 x 50.2 cm. National Gallery of Art, Collection of Mr. and Mrs. Paul Mellon, Washington DC (Inv. no. 1971.85.1). Overlays © Malcolm Park
8. Théâtre des Folies-Bergère: First floor plan of theatre space, c.1881; showing positions of viewpoints P1 and P2. © Malcolm Park
6. Spatial shaping of one-point perspective geometry. © Malcolm Park
mirror
P3viewpoint
G
B
B'
G'
G
G'
G
G'
frame of view for painting
reflected spaceactual space
cent
re o
f visi
on
1m0
image of bar from theatre
mirror
shape of end required tomatch the depicted bar
P5viewpoint
P4P31m0
frame of view for painting
cent
re o
f visi
on
reflected spaceactual space
mirror
P4viewpoint
P31m0
frame of view for painting
reflected spaceactual space
cent
re o
f visi
on
B
B'
B
B'
frame of view for painting
cent
re o
f visi
on
mirror
P3viewpoint1m0
reflected spaceactual space
reflected figure image copied from Oil sketch
B
B'
9. Plan – viewpoint P3 in studio: arrangement for Oil sketch foreground. © Malcolm Park
10. Plan – viewpoint P3 in studio: arrangement for Bar-Stage 1 foreground. © Malcolm Park
11. Plan – viewpoint P5 in studio: arrangement for Bar-Stage 3 foreground. © Malcolm Park
12. Plan – viewpoint P5 in studio: arrangement for Bar-Stage 3 foreground. © Malcolm Park
g1'
g1g2
g2'g3'
g3
OIL SKETCH
PLANS
a) from viewpoint P1 in theatre (Fig.8)
13. Views for composite Oil sketch image. © Malcolm Park
b) from viewpoint P3 in studio (Fig.9) c) Composite: part views from viewpoints P1 and P3. Overlay: drawing after Oil sketch
VP
a) Bar-Stage 1: view from viewpoint P3 (Fig.10). Overlay drawing after Bar14. Composition sequence proposal for Bar foreground. © Malcolm Park
b) Bar-Stage 2: view from viewpoint P4 (Fig.11). Overlay drawing after Bar
c) Bar-Stage 3: view from viewpoint P5 (Fig.12). Overlay drawing after Bar
a) from viewpoint P1 in theatre (Fig.8)
17. Views for composite of complete Bar-Stage 3. © Malcolm Park
FOREGROUND OF FINAL PAINTING
COMPOSITE IMAGE OF FINAL PAINTING
b) from viewpoint P2 in theatre (Fig.8) c) Composite: part views from viewpoints P1, P2 and P5 (Fig.14-c). Overlay drawing after Bar
15. Bar-Stage 3, foreground: wide-angle view from viewpoint P5 (Fig.12); with full width of mirror shown, without La Touche figure. Overlay drawing after Bar. © Malcolm Park
16b. Part of photograph of reconstruction of Bar foreground (Fig.16a) that relates to the painting's format. Photograph by Greg Callan, 2000. Collection of author16a. Reconstruction of Bar foreground arrangement as illustrated in Fig.15. Viewpoint equivalent to P5.
Photograph by Greg Callan, 2000. Collection of author
g1'
g1g2
g2'
g3'
AA
B
C
B
C