Archives Scrapbooks

The image shows a newspaper clipping from The New York Times, dated Sunday, December 26, 1987. The headline of the article is "When Art Historians Put the Picture in a Social Frame." The article discusses two different perspectives on the work of the painter Édouard Manet.

The article features quotes from two art historians:

1. Anne Coffin Hanson, a former curator at the Philadelphia Museum of Art and Yale University, who describes Manet's work as having a "permanent artistic statement" and emphasizes the artist's ability to shift the viewer's attention from the subject to the picture plane, thereby creating a tangible reality.

2. T.J. Clark, who offers a more socially contextual interpretation of Manet's painting "A Bar at the Folies-Bergère." Clark suggests that the painting reflects the social and economic conditions of the time, particularly the commodification of women in 19th-century Paris.

The article includes a black-and-white photograph of Manet's painting "A Bar at the Folies-Bergère," which depicts a barmaid standing in front of a mirror, with reflections of the bar's patrons visible behind her. The painting is split into two halves, with one half showing the barmaid and the other half showing the reflection.

The article explores how art historians interpret and contextualize Manet's work, highlighting the different approaches and perspectives that can be taken when analyzing art.

The image shows a page from a newspaper, specifically the New York Times, dated Sunday, December 26, 1987. The article is titled "When Art Historians Put the Picture in a Social Frame."

The article discusses contrasting views on the interpretation of a Manet painting. It features two quotes from different art historians:

1. Anne Coffin Hanson (cited as a catalog essayist for Édouard Manet's "A Bar at the Folies-Bergère" from 1983):

   • Hanson suggests that Manet's work aims to create a permanent artistic statement by subtly shifting the elements of the picture in relation to the viewer's immediate impression. Hanson believes Manet preserves the sensual textures of the scene while giving the viewer a tangible reality, albeit with some artistic precision sacrificed.

2. Timothy J. Clark (cited as an art historian and professor at Princeton University):

   • Clark argues that the woman in the painting is "detached," implying she is a figure of artifice, and her detachment is a deliberate artistic choice. He states that the customer (presumably the viewer) thinks she is an object with monetary value and that the painting's duty is to maintain this illusion.

The article also includes a black-and-white reproduction of Édouard Manet's painting "A Bar at the Folies-Bergère" (1882) to illustrate the point of discussion.

The visual content and text juxtapose differing interpretations of the same artwork, highlighting how art historians can offer contrasting social and contextual analyses of a single piece. The article continues on the next page, as indicated by the text at the bottom right corner of the page.

The image shows an open book or magazine with an article from The New York Times, dated Sunday, December 20, 1987. The article is titled "When Art Historians Put the Picture in a Social Frame." It discusses different interpretations of a Manet painting, with a focus on two views presented by Anne Coffin Hanson and Timothy J. Clark.

The article includes a black-and-white reproduction of Édouard Manet’s 1882 painting "A Bar at the Folies-Bergère," displayed at the Courtauld Institute Galleries in London. The image in the article highlights the debate among art historians about how to interpret Manet’s work, with some seeing it as a reflection of social realities and others focusing on its formal and artistic innovations.

The left page (page 22) contains the beginning of the article, featuring excerpts from the perspectives of both art historians. Anne Coffin Hanson’s perspective is that Manet created a permanent artistic statement by rearranging elements to capture an immediate impression, while Timothy J. Clark’s view is that the painting reflects the social and economic conditions of the time, with specific focus on the relationship between the barmaid and her environment. The right page (page 23) continues the discussion, including more details about the differing interpretations and the context of the artwork within art history.

The image is a page from a December 20, 1987, issue of The New York Times, specifically from section 2, page 22. It features an article titled "When Art Historians Put the Picture in a Social Frame," which discusses differing interpretations of Édouard Manet's 1882 painting "A Bar at the Folies-Bergère."

The article presents two contrasting views of Manet's work:

1. Anne Coffin Hanson's Perspective:

   • Hanson, identified as the former curator of the Yale University Art Gallery and a professor at Philadelphia Museum of Art and Art Institute of Chicago, focuses on the artistic elements and the immediate impression created by Manet.
   • She praises Manet for subtly shifting the elements of the painting to create a permanent artistic statement.
   • Hanson emphasizes the tangible naturalism and the preservation of sensuous textures in the painting.
   • She believes the barmaid in the painting looks detached and notes that the reflection in the mirror behind her might not align perfectly to maintain the illusion of depth and continuity.

2. T.J. Clark's Perspective:

   • Clark, a professor at the University of California, Berkeley, provides a more socially and economically contextualized interpretation.
   • He argues that the barmaid's detachment reflects the class dynamics and the economic transactions of the period.
   • According to Clark, the painting highlights the barmaid's alienation and the commodification of her image and service, indicating the broader social implications of modern life.

The article underscores the ferment in the field of art history, where interpretations can vary widely, especially with the rise of new methodologies that incorporate social history into the analysis of art. The piece also mentions an upcoming exhibition at the Yale Center for British Art, which will further explore such themes.

The image shows a newspaper clipping from "The New York Times," dated Sunday, December 20, 1987. The article is titled "When Art Historians Put the Picture in a Social Frame" and is centered on the interpretations of Edward Manet's artworks by different art historians.

The article presents two contrasting views of Manet’s work, specifically his painting "A Bar at the Folies-Bergère," which is displayed in the Courtauld Institute Galleries in London.

1. Anne Coffin Hanson, a catalog essayist for "Edward Manet: 1832-1883" and a curator at the Art Institute of Chicago (1966-1967), argues that Manet created a permanent artistic statement by shifting the viewer's perspective and preserving the sensual textures of the picture, thereby giving it a tangible reality.

2. Timothy J. Clark, an art historian and professor, offers a different interpretation in his book "The Painting of Modern Life 1880s." He suggests that Manet's work reflects a detached view, with the barmaid in the painting appearing detached and constrained by her circumstances. Clark's view emphasizes the social context, suggesting that the painting is more about the illusion of freedom and the constraints of money.

The clipping includes a black-and-white reproduction of "A Bar at the Folies-Bergère" and a brief discussion of the divergent scholarly opinions regarding Manet’s artistic intentions and the social commentary embedded in his work. The article highlights the debate within art history about how to interpret art within its social context.

The image shows a page from "The New York Times" dated Sunday, December 20, 1987. The article is titled "When Art Historians Put the Picture in a Social Frame." It discusses differing interpretations of Edward Manet's painting, "A Bar at the Folies-Bergère," by two art historians, Anne Coffin Hanson and Timothy J. Clark.

The article includes quotes and analysis from both historians:

• Anne Coffin Hanson, a curator and essayist for the Edward Hopper catalog, argues that Manet’s painting creates a momentary artistic statement by subtly shifting the elements of the picture to preserve the sensual textures that give the picture its tangible reality but sacrifice precise naturalism.

• Timothy J. Clark, a professor of modern art at the Courtauld Institute of Art, describes the woman in the painting as "detached" and emphasizes her role in maintaining an illusion of detachment, suggesting that the painting is about the economic and social roles of women in 19th-century Paris.

The article features a black-and-white reproduction of Manet's "A Bar at the Folies-Bergère," highlighting the different perspectives on the painting's meaning. The page also notes that the split in interpretations reflects a broader ferment in the field of art history, with scholars offering sharply contrasting interpretations of the artwork.

Additionally, there is a note indicating that the article is continued from Page 1, suggesting there is more to the discussion in the previous section of the newspaper. The page includes the author's names and affiliations, contributing to the scholarly context of the piece.

The image shows a newspaper article titled "When Art Historians Put the Picture in a Social Frame" from The New York Times, dated Sunday, December 20, 1987. The article discusses two views of a Manet painting. It includes quotes and commentary by art historians Anne Coffin Hanson and Timothy J. Clark, among others, about Edouard Manet's artwork and its interpretation in relation to social context.

There is a black-and-white reproduction of Edouard Manet's 1982 painting titled "A Bar at the Folies-Bergère," shown at the Courtauld Institute Galleries in London. The illustration has a blurred or obscured face of the central figure in the painting. The caption explains that the painting reflects ferment in the art history field, with scholars offering contrasting interpretations of the work.

The article seems to explore how Manet’s painting challenges traditional perceptions of art by placing it within a broader social framework. The text appears dense with detailed analysis, reflecting art historical and social perspectives. The overall layout has a classic newspaper style with dense columns of text surrounding the image. The newspaper seems clipped and preserved in a larger book or scrapbook with a reddish binding.

The image shows a newspaper article, specifically a page from The New York Times, dated Sunday, December 20, 1987. The headline of the article is "When Art Historians Put the Picture in a Social Frame," and it discusses varying perspectives on a painting by Édouard Manet. The article mentions the painting's title, "A Bar at the Folies-Bergère," which is on display at the Courtauld Institute Galleries in London. The piece reflects on the different interpretations of art history scholars regarding this work.

The photograph within the article appears to be of the mentioned painting. There are also a couple of quotes attributed to individuals named ANNE COFFIN HANSON and TIMOTHY J. CLARK, which discuss elements of Manet's style, a shift in how art is perceived, and considerations of the place of art in society.

The paper is placed on a tan surface, likely a desk or a table, and there's a folded corner of another page visible at the top right corner of the image.

The image shows an open book displaying a page from The New York Times dated Sunday, December 20, 1987. The headline at the top reads: "When Art Historians Put the Picture in a Social Frame." The article explores the interpretation of Édouard Manet's 1882 painting "A Bar at the Folies-Bergère" and discusses how art historians have offered contrasting views on the work.

Key Elements of the Image:

1. Headline and Subheading:

   • The main headline is prominently displayed at the top.
   • A subheading, "Two views of a Manet," introduces the topic of the article.

2. Article Content:

   • The article discusses the painting and its interpretation, highlighting the tension between viewing art as a static, aesthetic object versus a dynamic, socially embedded work.
   • It references quotes from scholars, including Anne Coffin Hanson and Timothy J. Clark, who offer differing perspectives on Manet's work.
   • Hanson describes the painting as capturing the "constant moving stream of money" and the "customer's evident thoughts," emphasizing the social context.
   • Clark, a professor at Yale, is mentioned as having written extensively on Manet's work.

3. Visual Element:

   • A black-and-white photograph of Manet's painting "A Bar at the Folies-Bergère" is prominently featured on the right side of the page. The painting depicts a bar scene with a woman in a bar setting, reflecting the social and cultural context of late 19th-century Paris.

4. Caption and Context:

   • Below the photograph, a caption explains that the painting reflects "the ferment in the field of art history," indicating the ongoing scholarly debate about its meaning and interpretation.
   • The article is part of a larger discussion about how art historians approach the social and cultural dimensions of art, moving beyond purely aesthetic analysis.

5. Layout and Design:

   • The page is formatted in a classic newspaper style, with clear typography and structured paragraphs.
   • The article is part of a larger section, as indicated by the reference to "Continued from Page 31" at the top right corner.

Overall Impression:

The image captures a moment of intellectual discourse, showcasing how art historians interpret works of art through a social lens. The juxtaposition of the painting and the scholarly commentary highlights the evolving nature of art criticism and the interplay between aesthetic and social analysis in understanding art. The article reflects the broader cultural and academic context of the late 1980s, where debates about the role of social context in art interpretation were prominent.

The image is a page from a newspaper, specifically "The New York Times," dated Sunday, December 20, 1987. The page is marked with page numbers 22 and H. The headline reads, "When Art Historians Put the Picture in a Social Frame."

The page contains a main article with a photograph and several subheadings. The photograph shows a woman standing in front of a bar counter, which appears to be a historical painting. The woman is dressed in period attire, suggesting the painting is from a specific historical era.

The article is divided into sections, each with a subheading. The first subheading is "Two Views of a Manet," which discusses the interpretation of Manet's painting "A Bar at the Folies-Bergère." The text describes how art historians analyze the painting within a social context, considering the various elements and their meanings.

The article includes quotes from art historians, such as Anne Coffin Hanson and Timothy J. Clark, who provide their perspectives on the painting. The text also mentions the Getty Center for the History of Art and the Humanities and its role in art history research.

The page has a brown border at the top and bottom, with a red border at the bottom. The text is printed in black ink on white paper, and the photograph is in black and white. The overall layout is typical of a newspaper article, with a headline, photograph, and text organized into sections.