Artwork Historical past Information: Manet/Degas

Manet/Degas examines one of the most significant artistic dialogues in the genesis of modern art. Born only two years apart, Édouard Manet (1832–1883) and Edgar Degas (1834–1917) were friends, rivals, and, at times, antagonists whose work shaped the development of modernist painting in France. By examining the ways in which their careers intersected and presenting their work side by side, this exhibition investigates how their artistic objectives and approaches both overlapped and diverged.

Via 160 work and works on paper, Manet/Degas takes a recent take a look at the interactions of those two artists within the context of the household relationships, friendships, mental circles, and sociopolitical occasions that influenced their creative {and professional} selections, deepening our understanding of a key second in Nineteenth-century French artwork historical past.

The exhibition is organized by The Metropolitan Museum of Artwork and the Musées d’Orsay et de l’Orangerie, Paris.

Highlights among the many loans to the exhibition embody 

Manet’s groundbreaking Olympia, which will travel to the United States for the first time in the work’s history, as well as 

Degas’s recently conserved Family Portrait (The Bellelli Family) from the Musée d’Orsay. Four drawings of Manet by Degas—two from the Musée d’Orsay and two from The Met—will be reunited with rare, related etchings. 

They will be displayed alongside 

Degas’s Monsieur and Madame Édouard Manet (Municipal Museum of Kitakyushu), a gift to the sitters that Manet later slashed, thus marking an initial point of rupture. 

Integral pairings of works by the two artists that showcase their treatment of similar subjects from modern life include 

Degas’s In a Café (The Absinthe Drinker) (Musée d’Orsay) 

and Manet’s Plum Brandy (National Gallery of Art, Washington, D.C.), as well as 

Manet’s The Races at Longchamp (Art Institute of Chicago) 

and Degas’s Racehorses before the Stands (Musée d’Orsay). 

The exhibition features many works formerly in Degas’s collection, including 

Manet’s The Execution of Maximilian (The National Gallery, London), which was methodically reassembled by Degas after it had been cut into pieces and dispersed following Manet’s death.

Stephan Wolohojian, exhibition co-curator and the John Pope-Hennessy Curator in Cost of the Division of European Work, stated, “Whereas little written correspondence between Manet and Degas survives, their creative output speaks volumes about how these main artists outlined themselves with and towards one another. This expansive file exhibition is a novel likelihood to evaluate their fascinating relationship by way of a dialogue between their work.”

Ashley Dunn, exhibition co-curator and Affiliate Curator within the Division of Drawings and Prints, added: “Works on paper are integral to their story as the 2 artists purportedly met within the Louvre, the place Degas was engaged on an etching after a portray attributed to Velázquez, a piece that Manet additionally copied. The exhibition presents an thrilling alternative to guage how Manet and Degas labored in a different way throughout media.”

Credit and Associated Content material

Manet/Degas is co-curated by Stephan Wolohojian (John Pope-Hennessy Curator in Cost of the Division of European Work, The Met) and Ashley Dunn (Affiliate Curator, Division of Drawings and Prints, The Met), in collaboration with Laurence des Vehicles (President-Director, Musée du Louvre), Isolde Pludermacher (Chief Curator of Portray on the Musée d’Orsay), and Stéphane Guégan (Scientific Advisor to the President of the Musée d’Orsay and the Musée de l’Orangerie).

A fully illustrated catalogue will accompany the exhibition. Printed by The Metropolitan Museum of Artwork and distributed by Yale College Press, Manet/Degas is the primary guide to contemplate their careers in parallel, investigates how their goals overlapped, diverged, and formed one another’s creative selections.  Enlivened by archival correspondence and information of firsthand accounts, essays by American and French students take a recent take a look at the artists’ household relationships, literary friendships, and interconnected social and mental circles in Paris; discover their complicated depictions of race and sophistication; talk about their political opinions within the context of wars in France and america; evaluate their creative practices; and study how Degas constructed his private assortment of works by Manet after his good friend’s untimely loss of life. An illustrated biographical chronology charts their intersecting lives and careers. This lavishly illustrated, in-depth examine affords a chance to reevaluate among the most canonical French artworks of the nineteenth century, together with Manet’s Olympia, Degas’s The Absinthe Drinker, and different masterworks.