Bar illustrations
- 1. 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 frieze 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, Thé?tre 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 VP eye level
- 2. EL CV VP EL CV VIEW FRAMES PLAN CV SP av-w VP av-o PP SP Station-point, viewpoint PP Picture plane VP Vanishing point CV Centre of vision, 1P Perspective EL Eye level av-w Angle of vision, wide-angle frame av-c Angle of vision, centre frame av-o Angle of vision, offset frame VP WIDE-ANGLE FRAME Frontal shaping of space av-c av-o OFFSET FRAME Frontal and angled shaping of space OFFSET FRAME Frontal and angled shaping of space CENTRE FRAME Frontal shaping of space La prune a. La prune as centre frame, with CP-frontal overlay 0 5m bar 6. Spatial shaping of one-point perspective geometry. ? Malcolm Park seating rows ground floor loges under seating rows chandeliers above centre of offset view frame from P1 centre of offset view frame from P2 balcony front mirrors to side wall mirrors to side wall cv cv P2 P1 stage Promenoir columns under loges loges loges VP VP b. La prune as offset frame, with 1P-offset overlay 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. Thé?tre des Folies-Bergère: First floor plan of theatre space, c.1881; showing positions of viewpoints P1 and P2. ? Malcolm Park
- 3. mirror P3 B' viewpoint G B G' frame of view for painting G' G G' G frame of view for painting reflected space actual space centre of vision image of bar from theatre 0 1m g3' mirror frame of view for painting shape of end required to match the depicted bar reflected figure image copied from Oil sketch reflected space actual space P5 viewpoint B' g1' g2' g2 g1 g3 0 1m P3 P4 centre of vision reflected space actual space mirror P4 viewpoint reflected space actual space B' 0 1m P3 centre of vision B B frame of view for painting centre of vision mirror P3 B' B 0 1m viewpoint 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 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
- 4. VP a) Bar-Stage 1: view from viewpoint P3 (Fig.10). Overlay drawing after Bar 14. 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 g3' FOREGROUND OF FINAL PAINTING g2' a) from viewpoint P1 in theatre (Fig.8) 17. Views for composite of complete Bar-Stage 3. ? Malcolm Park 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. 16a. Reconstruction of Bar foreground arrangement as illustrated in Fig.15. Viewpoint equivalent to P5. Photograph by Greg Callan, 2000. Collection of author Photograph by Greg Callan, 2000. Collection of author g1' g2 g1 A A B C B C