e view to a frontal view; hands have moved from her waist to her sides; and the identity of the woman changed from a unknown barmaid to Suzon. She is not meant to portray sexuality, nor is the man in the reflection meant to be searching to purchase her sexual favors. These are just two subjects in a bar, whose relationship with each other has become unintentionally skewed through the changes the piece underwent through its conception. Manets composition in this painting has the kind of direct appeal to the observer that was common in the posters and illustrations of the time (Iskin 30). These posters emerged as a new modern way to advertise products to the masses and were quite prominent in the last half of the 19th century. Manet knew a good deal about these posters, for he had himself produced lithographs and posters, the most well known being his poster for Les Chants, a 1868 book by Champefleury (Iskin 36). Through his experience of producing these advertisements and posters he began to understand their style. This style that was emerging in Paris that was designed to capture the attention of the masses was incorporated in the Bar painting. This painting became like one of these posters or advertisements, merely something to intrigue the public without any serious intent. All of the bottles are arranged in a way not so much like traditional still life arrangements as like advertising images that were visible in Paris through the later half of the 19th century. Even the idea for putting the woman at the bar, behind a counter laden with goods is very closely copied from posters. While Manets painting is not advertising any specific product as a poster would, it nonetheless includes the same feel you would expect if this were to be the case. The entire piece was meant to bring you in, and offer something for everyone. This, more than any other painting at the time, was for the masses. As a student who observed Manet while...
