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Artist: Édouard Manet
Type: Oil painting on canvas
Dimensions: 96 cm × 130 cm (37.8 in × 51.2 in)
Location: Courtauld Gallery, London
A Bar at the Folies-Bergère (French: Un bar aux Folies Bergère; Deutsch: Bar in den Folies Bergère), painted and exhibited at the Paris Salon in 1882, was the last major work by French painter Édouard Manet. It depicts a scene in the Folies Bergère nightclub in Paris. It originally belonged to the composer Emmanuel Chabrier, who was Manet's neighbor, and hung over his piano.
In 1882, Manet exhibited the last oil painting during his lifetime Bar in den Folies Bergère in salon. The exhibition enjoyed an astonishing success and won him The Legion of Honour. Manet in sickness said: it is too late. On April the 30th, the next year, Manet passed away.
A Bar at the Folies-Bergère is the most creative in Manet paintings. The painter used the effect of light to create the atmosphere around the young woman. The young woman is standing facing the audience, the decorations, wine bottles, and flowers in the vase attach a dreamlike expression to her. The image of the woman is among numerous phantoms, brimming with charming beauty. In the mirror, we can see the woman talking with customers as well as other customers in the bar. In the painting of Bar in den Folies Bergère, Manet adopted dreamlike light and shadow to express the reality, which were inaccessible for other painters.
The painting is rich in details which provide clues to social class and milieu. The woman at the bar is a real person, known as Suzon, who worked at the Folies-Bergère in the early 1880s. For his painting, Manet posed her in his studio. By including a dish of oranges in the foreground, Manet identifies the barmaid as a prostitute, according to art historian Larry L. Ligo, who says that Manet habitually associated oranges with prostitution in his paintings.
The 1934 ballet Bar aux Folies-Bergère with choreography by Ninette de Valois and music of Chabrier was created from and based around Manet's painting. The 1947 film The Private Affairs of Bel Ami faithfully references Bar in den Folies Bergère twenty nine minutes into the film with a look-alike actress, set and props as the main characters enter the establishment.
The painting The Bar (1954) by Australian painter John Brack, which depicts a comparatively grim Antipodean bar-room scene, is an ironic reference to A Bar at the Folies-Bergère.