On Oct 29, 2009, at 2:50 PM, William Conger wrote:
My examination of Manet's painting Folies Bergere is available in Critical Inquiry Vol. 25, No. 1. Autumn 1998, pp 143-145, and also in Looking At Art From The Inside Out, by Mary M> Gedo, Cambridge, 1994. Thierry deDuve critiqued some of my proposals while offering his own (that were themselves the subject of debate); see also my reply to DeDuve in Critical Inquiry Vol. 26. No 1. Autumn 1999.
Thank you for your explication. I remember Mary Sheriff, prof of 19th century French art at UNC, mention the various studies made of that painting. The detail I remember most was the fact that the mirror was shown parallel to the picture plane, but the reflections of the barmaid and the customer were off to the right, as if the viewer or the mirror were in a different position. I didn't remember any comment about the top of the heads. From my perspective [!], although I was interested in the a.h. aspects, I was more interested in the painter's questions and issues. Frankly, I spent more time looking at how he painted the foil on the champagne bottles and, of course, what he was famous for, painting flesh with relatively flat light and no midtones, just a few skillfully placed shadows.
| | | | | | | | | | | | | | | | | | | Michael Brady [email protected] http://considerthepreposition.blogspot.com/ http://thinkinglikeadesigner.blogspot.com/ Subscribe: [email protected] Unsubscribe: [email protected]
