Brasserie D’étudiants by Jean Béraud

Brasserie D’étudiants 1889

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figurative

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character portrait

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character art

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possibly oil pastel

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oil painting

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underpainting

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painting painterly

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portrait character photography

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watercolor

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warm toned green

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celebrity portrait

Editor: Here we have Jean Béraud's "Brasserie D’étudiants" from 1889, an oil painting depicting a lively scene inside what seems like a Parisian cafe. The dim lighting and crowded composition create a sense of intimacy and almost voyeuristic observation. What stands out to you about this piece? Curator: This painting presents a fascinating tableau of Parisian social life. Béraud isn't just capturing a scene; he’s inviting us to consider the socio-political dynamics at play in late 19th-century France. Who were these students? What role did brasseries play in fostering intellectual and political discourse, particularly given the historical context of the Third Republic? Editor: That's a great point. The students seem disengaged from one another in several smaller groups; is this commentary on class divisions within student culture? Curator: Absolutely. Look at the fashion, for example. What can we deduce from their attire and postures about their socio-economic backgrounds and perhaps even their political leanings? Consider the women present, too. Their presence signifies a shifting social landscape, but what constraints and expectations might they have faced in such a public space? How are they claiming their space in this painting? Editor: I hadn't thought of the clothing as conveying their status and politics. That does make the scene far more rich, and I notice Béraud positioned people differently within the brasserie. I guess it's not just a snapshot but something much more complex. Curator: Precisely. The painting becomes a stage upon which societal roles and power dynamics are acted out. Analyzing it through a lens of gender, class, and social reform unveils the subtle yet potent commentaries embedded within this seemingly simple snapshot of Parisian life. We have to acknowledge the politics of looking, too. As viewers, are we implicated in this gaze? Editor: That's amazing – thank you for that new perspective! I see how Béraud used what's there to comment on far more than just a normal, everyday brasserie scene.

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