Pierre-Albéric Coulouma, Marketing and Communications
Regrets is a haunting series of painting and drawings by Jasper Johns, inspired by a photograph of Lucian Freud posing in Francis Bacon’s studio.
This display at The Courtauld Gallery has prompted me to look at other works within the collection which have inspired contemporary artists. The artworks I discuss below are drawn at random, but have a common thread of using female characters to convey different stories.
This masterpiece helped define modern painting at the dawn of the 19th century with its unorthodox composition of figures in space, and with the barmaid’s notorious look conveying mystery and melancholy to the viewer.
Jeff Wall pioneered conceptual and post conceptual photography while establishing The Vancouver School with fellow artists Stan Douglas, Rodney Graham, and others. Hey may have initially encountered A Bar at the Folies-Bergères when researching his PhD at The Courtauld Institute of Art between 1970 and 1973.
Like Manet’s painting, Jeff Wall has challenged tradition with his groundbreaking work A Picture for Women. Also writer, lecturer and art theorist, Wall is known for making references to art history in his practice and A Picture for Women is directly inspired by A Bar at the Folies-Bergères.
Both Manet’s and Wall’s works make use of a mirror image, where lights in the background provide spatial depth.
Manet depicts a myriad of distracting elements providing some clues on the context and narrative of this original work, while Wall’s work is more minimalistic, and gives priority to the interplay between the two main figures and the camera standing in the middle.
Both works seem to internalise a connection between two characters and the viewer. Whereas the barmaid in A Bar at the Folies-Bergères strikes the viewer with her look; A Picture for Women engages the viewer both through the female character’s expression and through the central camera.
The women in the two pieces have the same posture, and most strikingly, look out of the frame in the same way. In both cases a male figure stares at them from a shadowy background; emphasising their evading gaze.
The identity of the man in A Bar at the Folies-Bergères is not confirmed, though most agree that Manet himself is the most likely candidate. Jeff Wall echoes this theory by portraying himself in his photograph.
The relationship between the model, the artist, and the viewer produces a tension by turning the viewer into a sort of witness on the scene. This mise-en-scene is said to depict the ‘power relationship between male artist and female model’ (1) and author David Campany also takes a gender themed approach and comments on the patriarchal contemporary visual culture where ‘women’ connotates ‘to-be-looked-at-ness’ (2).
Other contemporary artists have found inspiration in Impressionist masterpieces. A recent exhibition at the Hayward Gallery called The Human Factor presented two works derived from Edgard Degas’s Dancer.
Ryan Gander has produced a series of bronze sculptures based on Degas’ Dancers. With playfulness, Gander creates a new life for Degas’s subject.
As in a fantasy the model comes back to life and starts to wander off the gallery space. Off her plinth for a cigarette break, or seemingly crying in a corner, the ballerina becomes an individual leading us to believe in new narratives. Gander points out this is not about replicating Degas’ sculpture, ‘it’s about reproducing the character of the ballerina who posed for him.’
Yinka Shonibare is often known as the artist who put « Nelson’s Ship in a Bottle » for its occupancy of the Fourth Plinth in Trafalgar Square. His work explores cultural identity, colonialism and post-colonialism and a hallmark of his art is the brightly coloured fabric he uses.
Shonibare reinterprets a masterpiece by dressing up Degas’ dancer with his signature African-inspired costume, adding an 18th century pistol to her hand. The outcome is a juxtaposition of three strong signifiers: Degas’s dancers, the African inspired costume and an 18th century pistol.
Consequently, this work strongly suggests issues around colonialism and/or post-colonialism as it draws parallels between the occident, Africa and colonialism.
In sharp contrast to Jeff Wall who focuses on art history to challenge photographic tradition and Ryan Gander’s concept of introspection in the Dancer, Shonibare uses art history as a platform and a tool to express this thinking on colonialism and/or post-colonialism.
See The Courtauld Gallery’s collection for yourself – open daily from 10 am to 6 pm.
Images provided courtesy of Jeff Wall, Ryan Gander and Yinka Shonibare.
(1) From the gallery guide for the exhibition ‘Jeff Wall: Photographs 1978-2004’, Tate Modern, London, 21 October 2005 – 8 January 2066; and quoted in D. Campany, ‘Jeff Wall, Picture for Women’, Afterall, 2011.
(2) D. Campany, ‘Jeff Wall, Picture for Women’, Part of One Work Series, Afterall Books, 2011.