1868–69) and Manet’s Madame Manet au piano (1868) There’s a mysterious and enigmatic dimension to Degas’ painting where the birds are free, while the parrot in Manet’s painting is domestic and inside a bourgeois interior.”ĭegas’s Monsieur et Madame Manet (ca. He might have incorporated the ibis into his work afterwards. What interests us is that Degas had seen Manet’s painting in the 1868 salon and made a sketch inspired by it. The inspiration is very symbolic, close to the Pre-Raphaelites, and might have been inspired by Gustave Moreau who’d suggested to Degas the idea of painting a young Egyptian woman feeding ibis. Around a decade later, he added two flamboyant pink ibis birds, a sunset, and an imaginary town evoking Babylon. Initially, it simply depicted a young woman wrapped in a blue cloak standing on a terrace. Meanwhile, Degas’s work wasn’t destined to be seen by a lot of people. Manet evokes the young woman’s intimacy as if the parrot could be her confidant the parrot is gray and all the color is focused on the model’s dress. In both paintings, it’s the same model, Victorine Meurent, who also posed for Manet’s painting Le Déjeuner sur l’herbe (1863). Manet’s association of a young woman with a pet could recall his painting Olympia (1863), which features a small black dog. Isolde Pludermacher: “Manet made his painting for a salon in reaction to a painting, La Femme au perroquet (1866), by Gustave Courbet whom Manet was more in dialogue with at the time, whereas Degas’ work was made from a study. The Metropolitan Museum of Art, New York © The Metropolitan Museum of Art (R) Edgar Degas Femme sur une terrasse (1857–58). The Metropolitan Museum of Art, New York © The Metropolitan Museum of Art. Both of them made a significant mark on art history in the lead-up to Impressionism, a movement with which they later became associated.Īrtnet News spoke to Isolde Pludermacher, chief curator of painting at the Musée d’Orsay, about five pairings of paintings in the exhibition that illuminate the relationship between these two master painters.ĭegas’s Femme sur une terrasse ( 1857–58, reworked 1866–68) and Manet’s Jeune dame (1866) Manet made audacious paintings reinventing realism and Degas focused on developing a slightly more intimate style. While they shared certain interests-such as depictions of café scenes, prostitution, nudes in bathtubs, and horse racing-they portrayed these genres in contrasting ways. But whereas the extroverted Manet was highly driven towards recognition, the more introverted Degas often eschewed official channels of legitimacy. The groundbreaking show will later travel to The Metropolitan Museum of Art in New York.īoth artists were born into bourgeois backgrounds. A new blockbuster exhibition at the Musée d’Orsay in the French capital (on view through July 23) highlights their overlapping interests and individual techniques through exciting juxtapositions of their masterpieces. The two French painters played a crucial role in the new painting that emerged between the 1860s and 1880s in Paris, but each had strikingly different personalities and artistic approaches. Édouard Manet (1832–1883) and Edgar Degas (1834–1917) were peers, friends, and rivals.
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