Note cards: Digitally offset printed on folded bright white, 5 x 7 inch smooth and heavy paper. Poster prints: Satin finish paper for informal applications such as classrooms or dorms. Order as a framed paper print and it arrives ready to hang! Paper prints: Heavy, bright white, matte paper with a slight "cold pressed" texture. Order canvas rolled, classic stretched (requires framing), gallery wrapped (arrives ready to hang without a frame) or as a framed canvas print in one of our exquisite mouldings. “This expansive dossier exhibition is a unique chance to assess their fascinating relationship through a dialogue between their work.Explore more of our Edouard Manet collection.Ĭanvas prints: The most accurate option to represent an oil painting. “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. Universally, approval was something appreciated but unneeded. They shared unsavory subjects like horse races, sex workers, and barflies. Degas had a pastel palette and pursued movement and intimacy. Manet stressed loose brushstrokes and bold color and uncanny perspectives. They were self-proclaimed “Realists,” of an off-kilter sort, and they operated on stylistic spectrums. Degas, born two years later, crept into recognition alongside the Impressionists, a group neither truly claimed. Manet, born in 1832, announced himself promptly with the show-stopping Olympia and Luncheon on the Grass.
“Manet/Degas” opens before the birth of Impressionism and delves swiftly into its inception, which parallels the artists’ first meeting in the late 1860s. 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. 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. These drawings will be joined by two other renderings of Manet from the Met’s collection. 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. 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. “Anchored by the unparalleled holdings of their work in the collections of The Met and the Musée d’Orsay, in addition to incredible loans from more than 50 other institutions and individual collectors, this exhibition offers a riveting new perspective on the storied pair of artists.”
“Manet and Degas produced some of the most provocative and admired images in Western art,” Met director Max Hollein said in a statement. A Major Gift of Degas Sculptures, Including His Famous Dancer, Will be Exhibited this Fall at a U.S.
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