A walk by the courtesan's exhibition / 4
Raum 4: Eckpavillon rechts: Zweideutigkeit im öffentlichen Raum
Room 4: Corner pavilion on the right: Ambiguity in the public space
Im öffentlichen Raum einer Großstadt des 19. Jahrhunderts vermischten sich ehrbare Frauen, Gelegenheitsdirnen und professionelle Kurtisanen oftmals. Obwohl tagsüber Straßenprostitution verboten war, gab es im öffentlichen Raum immer wieder Situationen, die zweideutig waren oder die zumindest falsch verstanden werden konnten. Die Maler haben solche Szenen gerne festgehalten und genüsslich geschildert.
Im Eckpavillon auf der rechten Seite zeigen wir einige Beispiele:
Das Ladenmädchen auf dem Bild von James Tissot, dessen Blicke sich mit denen des Herrn treffen, der von außen durch das Schaufenster sieht und sicherlich nicht an den Auslagen interessiert ist.
Die Dame in Schwarz auf dem Gemälde von Jean Beraud, die gerade auf die Straße tritt, während im Hintergrund der Szene ein Herr schon interessiert schaut.
Die Dame in Rot auf einem Gemälde von Henri Evenepoel, die sich suchend im Café d´Harcourt umschaut. Wessen Aufmerksamkeit möchte sie in ihrem auffälligen Kleid erregen?
Und noch auffälliger die Dame mit dem großen Fächer im Arm eines älteren Herrn auf dem Gemälde "Eine Frau mit Ambitionen" von James Tissot. Sie hat schon längst alle Blicke der anwesenden Männer auf sich gezogen.
Mehr noch boten Stätten der Unterhaltung Raum für Zweideutigkeiten:
Die Frau im Zirkusbild von James Tissot ist wohl nicht wegen der Akrobaten gekommen. Was hat ihr Interesse erregt?
Was haben die beiden Männer im Sinn, die sich in der Ballettschule von Edgar Degas auf den Stühlen lümmeln. Auf was haben sie die Ballettschülerinnen taxiert.
Und warum sind auf dem Gemälde "Maskenball in der Oper" von Edouard Manet nur die Frauen maskiert, während die Männer im üblichen Schwarz gekleidet sind. Besonders die Pariser Oper bot während der Maskenbälle in der Karnevalszeit günstige Gelegenheiten für käufliche Liebe.
Jean Beraud trieb das Thema Doppeldeutigkeit bürgerlicher Moral auf die Spitze, indem er die Begegnung von Jesus und Magdalena im Haus des Pharisäers in die bürgerliche Gesellschaft von Paris im ausgehenden 19. Jahrhundert verlegte.
In the public space of a city of the 19th century respectable women, occasional prostitutes and professional courtesans were often mixed. Although during the day street prostitution was forbidden, there were in the public space over and over again situations which were equivocal or which could be at least misunderstood. The painters have held on such scenes with pleasure and have described with relish.
In the corner pavilion on the right side we show some examples:
The store girl in the picture of James Tissot whose looks meet those of a man who sees from the outside by the shop-window and is absolutely not interested in the displays.
The lady in black on the painting of Jean Beraud who steps just on the street, while a man in the background of the scene looks already with interest.
The lady in red on a painting of Henri Evenepoel who looks around searching in the Café d'Harcourt. Whose attention she would like to excite in her remarkable dress?
And even more conspicuously the lady with the big fan in the arm of an older man on the painting "A woman with ambitions" of James Tissot. She has already pulled all looks of the present men at herself.
Even more sites of the entertainment offered space for ambiguities:
The woman in the circus picture of James Tissot has not probably come because of the acrobats. What excited her interest?
What have in mind both men who loll in the painting of a ballet lesson by Edgar Degas on the chairs. On what they have estimated the ballet schoolgirls.
And why only the women are disguised on the painting "mask ball in the opera" by Edouard Manet, while the men are dressed in usual black. Particularly the Paris opera offered during the fancy-dress balls in the carnival time favorable opportunities for love for sale.
Jean Beraud did the subject ambiguity of middle-class morality on the point, while he moved the meeting of Jesus and Magdalena in the house of the Pharisee in the middle-class society of Paris in the outgoing 19th century.
In the corner pavilion on the right side we show some examples:
The store girl in the picture of James Tissot whose looks meet those of a man who sees from the outside by the shop-window and is absolutely not interested in the displays.
The lady in black on the painting of Jean Beraud who steps just on the street, while a man in the background of the scene looks already with interest.
The lady in red on a painting of Henri Evenepoel who looks around searching in the Café d'Harcourt. Whose attention she would like to excite in her remarkable dress?
And even more conspicuously the lady with the big fan in the arm of an older man on the painting "A woman with ambitions" of James Tissot. She has already pulled all looks of the present men at herself.
Even more sites of the entertainment offered space for ambiguities:
The woman in the circus picture of James Tissot has not probably come because of the acrobats. What excited her interest?
What have in mind both men who loll in the painting of a ballet lesson by Edgar Degas on the chairs. On what they have estimated the ballet schoolgirls.
And why only the women are disguised on the painting "mask ball in the opera" by Edouard Manet, while the men are dressed in usual black. Particularly the Paris opera offered during the fancy-dress balls in the carnival time favorable opportunities for love for sale.
Jean Beraud did the subject ambiguity of middle-class morality on the point, while he moved the meeting of Jesus and Magdalena in the house of the Pharisee in the middle-class society of Paris in the outgoing 19th century.
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