Manet: Portraying Life: Cineplex brings a gallery exhibit to the big screen

The on-screen discussion of The Railway (also called Gare Saint-Lazare) (1873) — with Victorine Meurent in her last modeling appearance for the artist, looking coolly at the viewer — suggests that Manet has left the impression that he is watching the viewer, too, that there is a lot of manipulation going on. This radical idea is reinforced the closer the camera takes us “into” the painting. Voila. There, at the very centre of the composition, we see the doors of Manet’s own studio closed as if he were peeping out from behind them. The experts miss this, but we don’t have to.

Article source:

This entry was posted in Fine Art News and tagged . Bookmark the permalink.

Comments are closed.