Metropolitan Museum- Manet & Degas Exhibition

Title: The Old Italian Woman Artist: Edgar Degas (French, Paris 1834–1917 Paris) Date: 1857 Medium: Oil on canvas Dimensions: 29 1/2 x 24 in. (74.9 x 61 cm) Classification: Paintings Credit Line: Bequest of Charles Goldman, 1966 Accession Number: 66.65.2 During the formative years that Degas spent working in Italy, 1856 to 1859, he made copies after old masters as well as studies of men and women in local costume, both subjects popular among the community of French artists who flocked to Rome. This painting combines a figural style and palette reminiscent of Poussin with an eye for realist detail, evident in the rendering of the woman’s wizened skin and gnarled hands. Monumental and unsparing, the picture avoids the picturesque sentimentality common to many contemporary images of peasants and beggars. Text from: www.metmuseum.org/art/collection/search/436120

Title: The False Start Artist: Edgar Degas (French, Paris 1834–1917 Paris) Date: ca. 1869–72 Geography: Country of Origin France Culture: French Medium: Oil on panel Dimensions: 12 5/8 × 15 7/8 in. (32.1 × 40.3 cm) Framed: 19 1/8 × 22 11/16 in. (48.6 × 57.6 cm) Classification: Paintings Credit Line: Yale University Art Gallery, John Hay Whitney, B.A. 1926, Hon. 1956, Collection (1982.111.6) Here, Degas positions his viewer in the center of the track, looking over at the spectators in the shaded stands. After a false start, the jockey in the foreground struggles to restrain his horse so that he can return to the starting line. Before Eadweard Muybridge’s chronophotographic series documenting animal locomotion demonstrated that a galloping horse pulls in its limbs when it leaves the ground, painters remained faithful to pictorial convention that presents the animal in a kind of flight, with legs apart and outstretched. Degas began modeling sculptures of horses in wax around the time this painting was made. Text from: www.metmuseum.org/art/collection/search/844732

Title: The False Start Artist: Edgar Degas (French, Paris 1834–1917 Paris) Date: ca. 1869–72 Geography: Country of Origin France Culture: French Medium: Oil on panel Dimensions: 12 5/8 × 15 7/8 in. (32.1 × 40.3 cm) Framed: 19 1/8 × 22 11/16 in. (48.6 × 57.6 cm) Classification: Paintings Credit Line: Yale University Art Gallery, John Hay Whitney, B.A. 1926, Hon. 1956, Collection (1982.111.6) Here, Degas positions his viewer in the center of the track, looking over at the spectators in the shaded stands. After a false start, the jockey in the foreground struggles to restrain his horse so that he can return to the starting line. Before Eadweard Muybridge’s chronophotographic series documenting animal locomotion demonstrated that a galloping horse pulls in its limbs when it leaves the ground, painters remained faithful to pictorial convention that presents the animal in a kind of flight, with legs apart and outstretched. Degas began modeling sculptures of horses in wax around the time this painting was made. Text from: www.metmuseum.org/art/collection/search/844732

Title: A Woman Seated beside a Vase of Flowers (Madame Paul Valpinçon?) Artist: Edgar Degas (French, Paris 1834–1917 Paris) Date: 1865 Medium: Oil on canvas Dimensions: 29 x 36 1/2 in. (73.7 x 92.7 cm) Classification: Paintings Credit Line: H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929 Accession Number: 29.100.128 Degas painted this work in the fall of 1865, after the Salon that presented his Scene of War in the Middle Ages and Manet’s Olympia. The remarkable composition destabilizes traditional categories of painting: it is neither a grand still life of flowers nor a portrait. The sitter is probably the wife of the artist’s schoolboy friend Paul Valpinçon, whose country house Degas immensely enjoyed visiting. Text from: www.metmuseum.org/art/collection/search/436121

Title: A Woman Seated beside a Vase of Flowers (Madame Paul Valpinçon?) Artist: Edgar Degas (French, Paris 1834–1917 Paris) Date: 1865 Medium: Oil on canvas Dimensions: 29 x 36 1/2 in. (73.7 x 92.7 cm) Classification: Paintings Credit Line: H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929 Accession Number: 29.100.128 Degas painted this work in the fall of 1865, after the Salon that presented his Scene of War in the Middle Ages and Manet’s Olympia. The remarkable composition destabilizes traditional categories of painting: it is neither a grand still life of flowers nor a portrait. The sitter is probably the wife of the artist’s schoolboy friend Paul Valpinçon, whose country house Degas immensely enjoyed visiting. Text from: www.metmuseum.org/art/collection/search/436121

Title: A Woman Seated beside a Vase of Flowers (Madame Paul Valpinçon?) Artist: Edgar Degas (French, Paris 1834–1917 Paris) Date: 1865 Medium: Oil on canvas Dimensions: 29 x 36 1/2 in. (73.7 x 92.7 cm) Classification: Paintings Credit Line: H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929 Accession Number: 29.100.128 Degas painted this work in the fall of 1865, after the Salon that presented his Scene of War in the Middle Ages and Manet’s Olympia. The remarkable composition destabilizes traditional categories of painting: it is neither a grand still life of flowers nor a portrait. The sitter is probably the wife of the artist’s schoolboy friend Paul Valpinçon, whose country house Degas immensely enjoyed visiting. Text from: www.metmuseum.org/art/collection/search/436121

Title: A Woman Seated beside a Vase of Flowers (Madame Paul Valpinçon?) Artist: Edgar Degas (French, Paris 1834–1917 Paris) Date: 1865 Medium: Oil on canvas Dimensions: 29 x 36 1/2 in. (73.7 x 92.7 cm) Classification: Paintings Credit Line: H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929 Accession Number: 29.100.128 Degas painted this work in the fall of 1865, after the Salon that presented his Scene of War in the Middle Ages and Manet’s Olympia. The remarkable composition destabilizes traditional categories of painting: it is neither a grand still life of flowers nor a portrait. The sitter is probably the wife of the artist’s schoolboy friend Paul Valpinçon, whose country house Degas immensely enjoyed visiting. Text from: www.metmuseum.org/art/collection/search/436121

Title: At the Races: The Start Artist: Edgar Degas (French, Paris 1834–1917 Paris) Date: ca. 1860–62 Geography: Country of Origin France Culture: French Medium: Oil on canvas Dimensions: 13 × 18 1/2 in. (33 × 47 cm) Frame: 18 × 23 1/2 × 2 3/4 in. (45.7 × 59.7 × 7 cm) Classification: Paintings Credit Line: Harvard Art Museums/Fogg Museum, Bequest of Annie Swan Coburn (1934.30) Although Degas rarely painted outdoors, beginning in the early 1860s he revealed a keen interest in racetrack scenes. For this early painting, he modeled the anatomical features and poses of the horses on both British prints and the work of the Romantic painter Théodore Géricault. The horse at the far left, positioned with its head and front leg raised high, appears to be performing a dressage exercise rather than preparing for a race, perhaps indicating the artist’s reliance on a published source. Degas’s depiction of horses in motion changed drastically over his career, particularly after the 1887 publication of Eadweard Muybridge’s chronophotographic series recording the locomotion of a galloping horse. Text from: www.metmuseum.org/art/collection/search/844641

Title: At the Races: The Start Artist: Edgar Degas (French, Paris 1834–1917 Paris) Date: ca. 1860–62 Geography: Country of Origin France Culture: French Medium: Oil on canvas Dimensions: 13 × 18 1/2 in. (33 × 47 cm) Frame: 18 × 23 1/2 × 2 3/4 in. (45.7 × 59.7 × 7 cm) Classification: Paintings Credit Line: Harvard Art Museums/Fogg Museum, Bequest of Annie Swan Coburn (1934.30) Although Degas rarely painted outdoors, beginning in the early 1860s he revealed a keen interest in racetrack scenes. For this early painting, he modeled the anatomical features and poses of the horses on both British prints and the work of the Romantic painter Théodore Géricault. The horse at the far left, positioned with its head and front leg raised high, appears to be performing a dressage exercise rather than preparing for a race, perhaps indicating the artist’s reliance on a published source. Degas’s depiction of horses in motion changed drastically over his career, particularly after the 1887 publication of Eadweard Muybridge’s chronophotographic series recording the locomotion of a galloping horse. Text from: www.metmuseum.org/art/collection/search/844641

Title: Copy after Delacroix's "Bark of Dante" Artist: Edouard Manet (French, Paris 1832–1883 Paris) Date: ca. 1859 Medium: Oil on canvas Dimensions: 13 x 16 1/8 in. (33 x 41 cm) Classification: Paintings Credit Line: H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929 Accession Number: 29.100.114 In 1855 Manet visited the studio of preeminent Romantic painter Eugène Delacroix to request permission to copy his celebrated Barque of Dante (1822). The painting was displayed that year at the Exposition Universelle, although it was usually on view and accessible for study at the Musée du Luxembourg, the public museum for contemporary art. Manet ultimately produced two versions: a more literal copy and this freely executed color study. This is one of two versions by Manet of Delacroix's celebrated painting of 1822 (Musée du Louvre, Paris). The other one, a more literal copy (Musée des Beaux-Arts, Lyons), dates from about 1855, when the original was on view at the Exposition Universelle. The present freely executed color study is thought to have been painted about 1859, the year of Manet's first Salon submission. Text from: www.metmuseum.org/art/collection/search/436949

Title: Copy after Delacroix's "Bark of Dante" Artist: Edouard Manet (French, Paris 1832–1883 Paris) Date: ca. 1859 Medium: Oil on canvas Dimensions: 13 x 16 1/8 in. (33 x 41 cm) Classification: Paintings Credit Line: H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929 Accession Number: 29.100.114 In 1855 Manet visited the studio of preeminent Romantic painter Eugène Delacroix to request permission to copy his celebrated Barque of Dante (1822). The painting was displayed that year at the Exposition Universelle, although it was usually on view and accessible for study at the Musée du Luxembourg, the public museum for contemporary art. Manet ultimately produced two versions: a more literal copy and this freely executed color study. This is one of two versions by Manet of Delacroix's celebrated painting of 1822 (Musée du Louvre, Paris). The other one, a more literal copy (Musée des Beaux-Arts, Lyons), dates from about 1855, when the original was on view at the Exposition Universelle. The present freely executed color study is thought to have been painted about 1859, the year of Manet's first Salon submission. Text from: www.metmuseum.org/art/collection/search/436949

Title: Copy after Delacroix's "Bark of Dante" Artist: Edouard Manet (French, Paris 1832–1883 Paris) Date: ca. 1859 Medium: Oil on canvas Dimensions: 13 x 16 1/8 in. (33 x 41 cm) Classification: Paintings Credit Line: H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929 Accession Number: 29.100.114 In 1855 Manet visited the studio of preeminent Romantic painter Eugène Delacroix to request permission to copy his celebrated Barque of Dante (1822). The painting was displayed that year at the Exposition Universelle, although it was usually on view and accessible for study at the Musée du Luxembourg, the public museum for contemporary art. Manet ultimately produced two versions: a more literal copy and this freely executed color study. This is one of two versions by Manet of Delacroix's celebrated painting of 1822 (Musée du Louvre, Paris). The other one, a more literal copy (Musée des Beaux-Arts, Lyons), dates from about 1855, when the original was on view at the Exposition Universelle. The present freely executed color study is thought to have been painted about 1859, the year of Manet's first Salon submission. Text from: www.metmuseum.org/art/collection/search/436949

Title: The Entry of the Crusaders into Constantinople, after Delacroix Artist: Edgar Degas (French, Paris 1834–1917 Paris) Artist: After Eugène Delacroix (French, Charenton-Saint-Maurice 1798–1863 Paris) Date: ca. 1860 Geography: Country of Origin France Culture: French Medium: Oil on cardboard Dimensions: 13 3/4 × 14 15/16 in. (35 × 38 cm) Frame: 23 1/16 × 24 1/4 × 4 5/8 in. (58.5 × 61.6 × 11.8 cm) Classification: Paintings Credit Line: Kunsthaus Zürich, Donated by René Wehrli, 2005 (2006.19) After returning to Paris from Italy in the spring of 1859, Degas began an enthusiastic campaign of copying works by Eugène Delacroix, the esteemed Romantic painter of the preceding generation. In addition to sketching from pictures on view in exhibitions and from public murals in Paris, Degas ventured to Versailles to study the monumental Entry of the Crusaders into Constantinople (1840), which depicts an episode of religious warfare from the thirteenth century. At the time, Degas was struggling to conceive his own grand history paintings; although he ultimately turned away from such subject matter, his study of Delacroix would have a lasting effect on his approach to color. Text from: www.metmuseum.org/art/collection/search/844793

Title: The Entry of the Crusaders into Constantinople, after Delacroix Artist: Edgar Degas (French, Paris 1834–1917 Paris) Artist: After Eugène Delacroix (French, Charenton-Saint-Maurice 1798–1863 Paris) Date: ca. 1860 Geography: Country of Origin France Culture: French Medium: Oil on cardboard Dimensions: 13 3/4 × 14 15/16 in. (35 × 38 cm) Frame: 23 1/16 × 24 1/4 × 4 5/8 in. (58.5 × 61.6 × 11.8 cm) Classification: Paintings Credit Line: Kunsthaus Zürich, Donated by René Wehrli, 2005 (2006.19) After returning to Paris from Italy in the spring of 1859, Degas began an enthusiastic campaign of copying works by Eugène Delacroix, the esteemed Romantic painter of the preceding generation. In addition to sketching from pictures on view in exhibitions and from public murals in Paris, Degas ventured to Versailles to study the monumental Entry of the Crusaders into Constantinople (1840), which depicts an episode of religious warfare from the thirteenth century. At the time, Degas was struggling to conceive his own grand history paintings; although he ultimately turned away from such subject matter, his study of Delacroix would have a lasting effect on his approach to color. Text from: www.metmuseum.org/art/collection/search/844793

Title: Mademoiselle Fiocre in the Ballet "La Source" Artist: Edgar Degas (French, Paris 1834–1917 Paris) Date: ca. 1867–68 Geography: Country of Origin France Culture: French Medium: Oil on canvas Dimensions: 51 1/2 × 57 1/8 in., 166 lb. (130.8 × 145.1 cm, 75.3 kg) Framed: 63 × 69 × 6 1/4 in. (160 × 175.3 × 15.9 cm) Classification: Paintings Credit Line: Brooklyn Museum, Gift of James H. Post, A. Augustus Healy, and John T. Underwood (21.111) Degas submitted this painting to the 1868 Salon with the title Portrait de Mlle E. F. à propos du ballet ‘La Source,’ referring to Eugénie Fiocre, a famous dancer at the Paris Opera. Although its exhibited title suggests that he intended the work as a portrait, it otherwise gives the impression of a literary or mythological subject. Rather than show the performance, Degas captures the young woman and other dancers at rest during rehearsal, providing little indication of a stage set beyond the pink ballet slippers visible between the horse’s legs. Text from: www.metmuseum.org/art/collection/search/844733

Title: Mademoiselle Fiocre in the Ballet "La Source" Artist: Edgar Degas (French, Paris 1834–1917 Paris) Date: ca. 1867–68 Geography: Country of Origin France Culture: French Medium: Oil on canvas Dimensions: 51 1/2 × 57 1/8 in., 166 lb. (130.8 × 145.1 cm, 75.3 kg) Framed: 63 × 69 × 6 1/4 in. (160 × 175.3 × 15.9 cm) Classification: Paintings Credit Line: Brooklyn Museum, Gift of James H. Post, A. Augustus Healy, and John T. Underwood (21.111) Degas submitted this painting to the 1868 Salon with the title Portrait de Mlle E. F. à propos du ballet ‘La Source,’ referring to Eugénie Fiocre, a famous dancer at the Paris Opera. Although its exhibited title suggests that he intended the work as a portrait, it otherwise gives the impression of a literary or mythological subject. Rather than show the performance, Degas captures the young woman and other dancers at rest during rehearsal, providing little indication of a stage set beyond the pink ballet slippers visible between the horse’s legs. Text from: www.metmuseum.org/art/collection/search/844733