Posted on 05/12/2023 3:11:29 PM PDT by nickcarraway
This fall, Édouard Manet’s famed 1863 painting Olympia will travel from Paris to New York for the first time.
Olympia, among other works by Manet, will be on display in the Metropolitan Museum of Art beginning September 24. The show, aptly titled “Manet/Degas,” pairs Manet with his fellow Frenchman, one-time friend, and rival, the enigmatic Edgar Degas. The show, which comes to New York after a run at the Musée d’Orsay in Paris, examines a radical period of French painting through the lens of the artists’ tempestuous bond.
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The Met will exhibit 160 paintings and works on paper that tracks the thematic and chronological journeys of Manet and Degas, with an emphasis on the private relations, intellectual milieu, and societal context that informed their interactions. In addition to Olympia, the Musée d’Orsay will loan Degas’s newly conserved Family Portrait (The Bellelli Family) and two drawings of Manet by Degas.
These drawings will be joined by two other renderings of Manet from the Met’s collection. In another neat juxtaposition, all four will be united with Degas’s Monsieur and Madame Édouard Manet, from the Kitakyushu Municipal Museum of Art, which Manet famously—and enigmatically—mutilated with a blade. It was a mortal wound to their friendship, but it was not the end of their story: Degas continued to paint Manet long after the latter’s death.
“Manet/Degas” opens before the birth of Impressionism and delves swiftly into its inception, which parallels the artists’ first meeting in the late 1860s. Manet, born in 1832, announced himself promptly with the show-stopping Olympia and Luncheon on the Grass. Degas, born two years later, crept into recognition alongside the Impressionists, a group neither truly claimed.
They were self-proclaimed “Realists,” of an off-kilter sort, and they operated on stylistic spectrums. Manet stressed loose brushstrokes and bold color and uncanny perspectives. Degas had a pastel palette and pursued movement and intimacy. They shared unsavory subjects like horse races, sex workers, and barflies. Universally, approval was something appreciated but unneeded.
“While little written correspondence between Manet and Degas survives, their artistic output speaks volumes about how these major artists defined themselves with and against each other,” Stephan Wolohojian, the exhibition co-curator and head curator of the department of European paintings, said. “This expansive dossier exhibition is a unique chance to assess their fascinating relationship through a dialogue between their work.”
Dukakis?
An ordinary beauty. Extraordinary.
Chevy Chase will explain it....
https://getyarn.io/yarn-clip/de4b0a79-1b26-47f9-8e72-ad203d22d4da
The USA is kindly paying a lot of money to Hunter Biden to send some of his paintings over as a goodwill gesture to fellow art lovers. A masterpiece exchange.
Watch out for the homeless New Yorkers trying to poop on the painting, to them a,r, and t are the last three letters of the word fart.
How could he do such an exquisite job on the woman and then screw up the cat, royally?
Dog lover?
Changed the cat due to a copyright infringement suit by Eveready.
His twin brother was Man B.
:-)
That was my impression.
The model Victorine Meurent (sp?) would appear in several different of Manet’s works. One “The Railway” I have seen at the National Gallery of Art. “Olympiad” scandalized Parisienne society because it was a subversion of that reclining nude women, for example, Ingres “Odalisque”. The symbols Manet uses indicate the woman is a prostitute.
Manet's work at least looks like an actual woman.
That particular Ingres painting reminds of this kind of 19th Century equestrian art:
It's supposed to be a horse, but something ain't right.
Yes the realism of the Manet was one of the scandalous elements.
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