The Café-Concert is an 1879 painting by the French painter Édouard Manet, who often captured café scenes depicting social life at the end of the nineteenth century similar to those depicted in this painting.
The painting is in the collection of the The Walters Art Museum, Baltimore.
The setting has been identified as the Brasserie Reichshoffen on the Boulevard Rochechouart.
Manet shows us men and women in the new brasseries and cafes of Paris, which presents the viewer with an alternate view of new Parisian life.
Manet claimed he was painting des oeuvres sinceres or "sincere works".
The women depicted in these scenes were courting certain risks with regards to perception and morality.
Composition
In The Café-Concert, Manet presents a café-concert in which three central figures form a triangle but are all engaged in opposite directions.
The scene of a Café-Concert, supposedly casual, is hinted by Manet to be one of separation.
The waitress enjoys a beer, while the woman at the table smokes a cigarette and appears subdued and the man appears to be at ease as he watches the performance (the singer known as “La Belle Polonaise” is reflected in the mirror in the background of the painting).
It is noted that the man evokes confidence, because men unlike women could frequent cafés without insecurity.
The painting was posed and completed in a studio but gives the appearance of being freshly observed.
Analysis
In this painting, concepts of conventional composition are rejected.
The figures of the individuals represented are not clearly defined but modeled with brushstrokes.
The colors are placed directly on the canvas with loose, repetitive strokes instead of applying layers of pigments and glazes over a dark background.
Il Café-Concert è un dipinto del 1879 del pittore Francese Édouard Manet, che spesso catturava scene di caffè raffiguranti la vita sociale alla fine del diciannovesimo secolo, simili a quelle raffigurate in questo dipinto.
Il dipinto fa parte della collezione del Walters Art Museum di Baltimora.
L'ambientazione è stata identificata come la Brasserie Reichshoffen sul Boulevard Rochechouart.
Manet ci mostra uomini e donne nelle nuove brasserie e nei caffè di Parigi, che offrono allo spettatore una visione alternativa della nuova vita parigina.
Manet sosteneva di stare dipingendo des oeuvres sinceres o "opere sincere".
Le donne raffigurate in queste scene stavano correndo certi rischi per quanto riguarda la percezione e la moralità.
In questo dipinto, i concetti di composizione convenzionale vengono rifiutati.
Le figure degli individui rappresentati non sono chiaramente definite ma modellate con pennellate.
I colori sono applicati direttamente sulla tela con pennellate sciolte e ripetitive invece di applicare strati di pigmenti e velature su uno sfondo scuro.
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