bar illustrations

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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 VP eye level frieze

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Page 1: Bar illustrations

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

Page 2: Bar illustrations

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

Page 3: Bar illustrations

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

Page 4: Bar illustrations

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