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Waiting in line with the other five million people, I wondered why they had all decided to come to the Metropolitan Museum of Art on that particular day, the biggest shopping day of the year. Didn't they want to sleep in? Maybe they were there for a specific painting like I was, or to escape the hustle and bustle of the day after thanksgiving, or maybe they were there just to relax? Whatever the reason, they all seemed genuinely happy.
As I held my notebook tight in hand walking through the very familiar exhibits as if walking through my own house, I noticed all sorts of people staring at a diverse amount of paintings mounted on the many walls of the museum. Some people had notebooks in hand, some did not, some sat, some stood, some appreciated the many works of art and I am sure that some didn't. It was amazing how one place, one building for that matter, could bring so many people together.
I walked down the hallway to the place I had been so many times before. I knew it would hold Manet's paintings. My eyes glanced from one painting to another then finally lay to rest on a painting of a young woman in an immensely concealing pink robe, The woman with a parrot by Manet. The lady in the painting had her hair swept gracefully up behind her head. Each strand glowed brown with tints of red sparkling through. Her hair was parted in a direct line down the middle of her skull, and a violet ribbon wrapped around her tiny head tying in a bow at the crown. She wore a lose black chocker around her neck with a golden pendant dangling off the end. She held a tiny bouquet of violets close to her face, perhaps smelling the essence, and the other arm nestled gently into her side where the hip meets the waist. It lay perfectly near the last button on her robe. Next to this vision in a blush pink, was a parrot balanced atop a perch, along with an orange and some of its peel near the bottom of the perch. Darkness enveloped the figure of the woman as she stared at something, at someone.
It was the woman's eyes that first caught me as I sat down to study the painting on a nearby bench. Her eyes were opened as if she were acknowledging the painters presence and therefore the viewers in the museum, including myself. Yet, her eyes were so forlorn that she seemed like she didn't care if she was being watched. That's when I started asking myself questions Is this woman in a dream world, or is she looking at me? Is she a real lady, or maybe a courtesan? Why is there a parrot in the picture? And who sent her that bouquet of violets she holds so gently in her hand as if it were a tea cup with her pinky protruding into the air above.
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Moving downward on the woman's body I sense eroticism with every button that is undone. Looking closer I view a tiny glimpse of what seems to be lace coming out from her robe. In 1866, however, women of stature were not allowed to be showing any sort of petticoat or undergarment. It was forbidden and frowned upon. For this tiny piece of lace to be hanging out of her robe for all the public to see was a crime. Does this mean she was a courtesan? And are those violets from an admirer, a customer?
A courtesan she might have been. During this time period paintings had started the process of banishing the once ever present bourgeois as the main subjects in their paintings. The new subject, the avant-garde subject, was to paint the blue collared workers, the prostitutes, the people from everyday life.
More eroticism followed as I went back to her eyes which reminded me of Courbet's Young Ladies on the Banks of the Seine. In Courbet's painting the woman in the foreground has her eyes partly opened also acknowledging the painter and therefore the viewers. Their petticoats hang messily about them for all to see in a public place. These petticoats and the eyes of the women play games with the minds of the viewers, inviting the men, daring the men to look at them. The erotic games played on the viewer in Courbet's painting can also be seen in Woman with a Parrot. The erotic game that this painting plays on my mind are unreal. Maybe it is coincidence but each image in the painting seems to be concealing yet revealing itself at the same time. Funny how the woman's robe is half buttoned suggesting that she was about to take it off or that she was to lazy to button it up after her last customer, then the viewer notices that the orange is partly peeled, and the parrot shows just one eye to the viewer. These small details give the painting a very playful feeling.
This playful feeling though is quickly stopped when my eyes suddenly catch the darkness of the background which encircles all of the objects. The contrast leads to a darker overall feeling which introduces the inappropriateness of the painting and haziness on the mystery of this woman's body. Manet also seems deliberate in creating a sense of improvisation. His long, quick strokes of paint suggest rather than describe, much like the robe suggests that there is something beautiful underneath, but does not reveal what it is. The painting leaves the viewer to his/her imagination. Manet's use of dark colors next to the blush pink of the robe gives the viewer a sense of uncertainty.
Looking closely at the orange along with the orange peelings which have been skewed onto the floor, I ask myself why Manet would include an orange in his painting. Yet, the answer becomes clear to me when I see in the dictionary that oranges come usually ten in number, are enclosed in a leathery rind which can be easily separable and are a reddish-pink when truly ripe. Does this not describe the prostitute in Manet's painting? She is probably a dime a dozen, her legs, much like the rind, can be easily separated, and lastly the pinkness of her robe suggests that she is ripe, probably already plucked, and with each man her rind slowly comes undone matching the buttons on her dress.
Another point is also made by putting the orange, a piece of fruit, next to the woman. By positioning this next to her Manet establishes a link between femininity and nature making the viewer think of fertility. In the 1800s men thought the only use women had was to bear children and to pleasure the men themselves, so this orange seems perfectly natural in representing fertility. Many paintings of women would be hung in men's bathrooms, over a bed, or especially in a gentlemen's club for the sole purpose of pleasing men. These paintings were the Playboy magazines of today.
Moving to the bouquet of violets she so delicately holds in her left hand can only remind me of Napoleon's love for Josephine, Napoleon's wife. Napoleon was a devoted fan of the violet and when he married Josephine, she wore violets, and on every wedding anniversary he sent her a bouquet of them. Violets are therefore considered a good luck gift to any woman in any season. They symbolize faithfulness. Violet the color, however, which she wears in her hair as a ribbon, can symbolize service, perception and illusion. This woman obviously gives a service, and she also gives the illusion of love to each of her customers by acting solely upon lust.
As my eyes slowly move to the parrot, I wonder why such a bird would be put into a painting. I notice that this bird is not caged like most would be. Instead it is balanced gracefully atop a hip tall perch. Maybe this is a reference to the woman no longer being caged into a proper society, now she is free to do what she wants. She is not caged therefore she is not stripped of her beauty as most women were. However, then I looked deeper into the meaning of the parrot and realized that a parrot is a bird which imitates the words and actions of another, never understanding what is being said, only being looked at for its beautiful colors. How awful it would be to not have a unique and entertaining voice, how awful to not be special except for the outer appearance a person portrays. This parrot is mimicking the woman almost exactly. All this courtesan is noticed for are her looks, her voice will never matter to the customers she pleases, and if she does happen to speak I am sure that her customers would rather her shut up.
Another way to read all of these strange objects is by interpreting each object in the painting as the five senses a person posesses. This painting could very well be a symbol for all of them. Taste would be represented by the citric orange, sound by the parrots mocking voice, smell by the odor of the violets, sight by the monocle (spectacles) and touch possibly by her fingers touching together.
So who is this woman? This woman is Manet's favorite model which he uses in many of his paintings including Mademoiselle Victorine in the Costume of an Espada, Le Djeuner sur l"herbe, and Olympia. She is a model who has been put in every kind of setting possible. By using her over and over again and making her recognizable to all, Manet draws the viewer's attention to the constructed nature of the composition instead of the woman.
As I kept walking through the museum, my mind still on Manet's Woman with a Parrot, I came across another painting looking a bit different but with the same title exactly. It was by Courbet, and was also called Woman with a Parrot. Amazed that they were both made in the same year and both had the same name, I decided to sit down and look carefully into the differences and similarities of both paintings. Most notably I noticed that the woman in Courbet's painting was completely nude and lying down. She was in an awkward pose and her disheveled hair distracted me. In this painting, as in Manet's, there was again a perch, but this time the parrot was not on it, which leaves the perch with no known purpose in the painting. In this painting the bird was perched atop the nude woman's left hand. It almost seems as though that perch didn't belong. Maybe it should have been a man maybe even Courbet himself looking at the object he had just possessed. In this painting there is no playful undertone like Manet's, everything is just laid out for all to view. With nothing hidden I was quickly reminded of the painting,The origin of the world. No mystery is involved. The nude woman in Courbet's is also not something pretty to look at. She is non-idealized, very realistic. It has been said that Manet objected greatly to Courbet's painting. The reason he objected was that the woman was too voluptuous in his opinion. Maybe she just wasn't an object of his affection.
As I got up from the bench and took one last look at Manet's Woman with a parrot a woman came up to me and asked what was so special about this woman with the bird. She must have seen me sitting there for a long time. I sat for about ten minutes just staring and then turned the question around on her and asked her what she saw in the painting. She proceeded to explain to me that she thought it was a rich woman that was pregnant, which explained the oversized robe. And since the robe was pink, the baby was going to be a girl. I began to chuckle not meaning to sound rude because in all truth she could be right. But it was so strange to hear someone else's views when they were so different from my own, especially since I had been daydreaming about this woman for most of the day.
I turned and walked out of the museum wondering what other people's opinions were, wondering if other people would think my thoughts foolish. There are so many ways to interpret a painting, maybe sometimes they just choose to speak to people in different ways. Now I understand why there were so many people at the museum on their day off…they had wanted to be told a story, a story which their and only their imagination made up. I think I'll go back again next week.
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