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.
Through 160 paintings and works on paper, Manet/Degas takes a fresh look at the interactions of these two artists in the context of the family relationships, friendships, intellectual circles, and sociopolitical events that influenced their artistic and professional choices, deepening our understanding of a key moment in 19th-century French art history.
The exhibition is organized by The Metropolitan Museum of Art and the Musées d’Orsay et de l’Orangerie, Paris.
Highlights among the loans to the exhibition include
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 Charge of the Department of European Paintings, said, “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. This expansive dossier exhibition is a unique chance to assess their fascinating relationship through a dialogue between their work.”
Ashley Dunn, exhibition co-curator and Associate Curator in the Department of Drawings and Prints, added: “Works on paper are integral to their story as the two artists purportedly met in the Louvre, where Degas was working on an etching after a painting attributed to Velázquez, a work that Manet also copied. The exhibition presents an exciting opportunity to evaluate how Manet and Degas worked differently across media.”
Credits and Related Content
Manet/Degas is co-curated by Stephan Wolohojian (John Pope-Hennessy Curator in Charge of the Department of European Paintings, The Met) and Ashley Dunn (Associate Curator, Department of Drawings and Prints, The Met), in collaboration with Laurence des Cars (President-Director, Musée du Louvre), Isolde Pludermacher (Chief Curator of Painting at 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. Published by The Metropolitan Museum of Art and distributed by Yale University Press, Manet/Degas is the first book to consider their careers in parallel, investigates how their objectives overlapped, diverged, and shaped each other’s artistic choices. Enlivened by archival correspondence and records of firsthand accounts, essays by American and French scholars take a fresh look at the artists’ family relationships, literary friendships, and interconnected social and intellectual circles in Paris; explore their complex depictions of race and class; discuss their political views in the context of wars in France and the United States; compare their artistic practices; and examine how Degas built his personal collection of works by Manet after his friend’s premature death. An illustrated biographical chronology charts their intersecting lives and careers. This lavishly illustrated, in-depth study offers an opportunity to reevaluate some of the most canonical French artworks of the nineteenth century, including Manet’s Olympia, Degas’s The Absinthe Drinker, and other masterworks. |
