LaurieAnnie's photos

Title: Courtyard of a House (New Orleans, sketch) Artist: Edgar Degas (French, Paris 1834–1917 Paris) Date: 1873 Geography: Country of Origin France Culture: French Medium: Oil on canvas Dimensions: 23 5/8 × 28 15/16 in. (60 × 73.5 cm) Framed: 34 5/8 × 40 1/4 × 4 3/4 in. (88 × 102.3 × 12 cm) Classification: Paintings Credit Line: Ordrupgaard, Copenhagen (238 WH) Accession Number: MD.012 Degas began this view from his family’s house soon after he arrived in New Orleans. Apart from the two cotton-office scenes, shown nearby, it is his only painting placed in a recognizably New Orleans setting. Notably, it is also his only visual record from that city of a Black figure, shown here as a nanny, despite the many Black people he observed and mentioned in letters. First shown in 1876, at the second Impressionist exhibition, this “sketch,” as it was called, went totally unnoticed by the critics, who focused their attention on Degas’s Cotton Office and his painting of a laundress with bare arms. Text from: www.metmuseum.org/art/collection/search/844683

Title: Courtyard of a House (New Orleans, sketch) Artist: Edgar Degas (French, Paris 1834–1917 Paris) Date: 1873 Geography: Country of Origin France Culture: French Medium: Oil on canvas Dimensions: 23 5/8 × 28 15/16 in. (60 × 73.5 cm) Framed: 34 5/8 × 40 1/4 × 4 3/4 in. (88 × 102.3 × 12 cm) Classification: Paintings Credit Line: Ordrupgaard, Copenhagen (238 WH) Accession Number: MD.012 Degas began this view from his family’s house soon after he arrived in New Orleans. Apart from the two cotton-office scenes, shown nearby, it is his only painting placed in a recognizably New Orleans setting. Notably, it is also his only visual record from that city of a Black figure, shown here as a nanny, despite the many Black people he observed and mentioned in letters. First shown in 1876, at the second Impressionist exhibition, this “sketch,” as it was called, went totally unnoticed by the critics, who focused their attention on Degas’s Cotton Office and his painting of a laundress with bare arms. Text from: www.metmuseum.org/art/collection/search/844683

Title: Courtyard of a House (New Orleans, sketch) Artist: Edgar Degas (French, Paris 1834–1917 Paris) Date: 1873 Geography: Country of Origin France Culture: French Medium: Oil on canvas Dimensions: 23 5/8 × 28 15/16 in. (60 × 73.5 cm) Framed: 34 5/8 × 40 1/4 × 4 3/4 in. (88 × 102.3 × 12 cm) Classification: Paintings Credit Line: Ordrupgaard, Copenhagen (238 WH) Accession Number: MD.012 Degas began this view from his family’s house soon after he arrived in New Orleans. Apart from the two cotton-office scenes, shown nearby, it is his only painting placed in a recognizably New Orleans setting. Notably, it is also his only visual record from that city of a Black figure, shown here as a nanny, despite the many Black people he observed and mentioned in letters. First shown in 1876, at the second Impressionist exhibition, this “sketch,” as it was called, went totally unnoticed by the critics, who focused their attention on Degas’s Cotton Office and his painting of a laundress with bare arms. Text from: www.metmuseum.org/art/collection/search/844683

Title: Courtyard of a House (New Orleans, sketch) Artist: Edgar Degas (French, Paris 1834–1917 Paris) Date: 1873 Geography: Country of Origin France Culture: French Medium: Oil on canvas Dimensions: 23 5/8 × 28 15/16 in. (60 × 73.5 cm) Framed: 34 5/8 × 40 1/4 × 4 3/4 in. (88 × 102.3 × 12 cm) Classification: Paintings Credit Line: Ordrupgaard, Copenhagen (238 WH) Accession Number: MD.012 Degas began this view from his family’s house soon after he arrived in New Orleans. Apart from the two cotton-office scenes, shown nearby, it is his only painting placed in a recognizably New Orleans setting. Notably, it is also his only visual record from that city of a Black figure, shown here as a nanny, despite the many Black people he observed and mentioned in letters. First shown in 1876, at the second Impressionist exhibition, this “sketch,” as it was called, went totally unnoticed by the critics, who focused their attention on Degas’s Cotton Office and his painting of a laundress with bare arms. Text from: www.metmuseum.org/art/collection/search/844683

Title: Courtyard of a House (New Orleans, sketch) Artist: Edgar Degas (French, Paris 1834–1917 Paris) Date: 1873 Geography: Country of Origin France Culture: French Medium: Oil on canvas Dimensions: 23 5/8 × 28 15/16 in. (60 × 73.5 cm) Framed: 34 5/8 × 40 1/4 × 4 3/4 in. (88 × 102.3 × 12 cm) Classification: Paintings Credit Line: Ordrupgaard, Copenhagen (238 WH) Accession Number: MD.012 Degas began this view from his family’s house soon after he arrived in New Orleans. Apart from the two cotton-office scenes, shown nearby, it is his only painting placed in a recognizably New Orleans setting. Notably, it is also his only visual record from that city of a Black figure, shown here as a nanny, despite the many Black people he observed and mentioned in letters. First shown in 1876, at the second Impressionist exhibition, this “sketch,” as it was called, went totally unnoticed by the critics, who focused their attention on Degas’s Cotton Office and his painting of a laundress with bare arms. Text from: www.metmuseum.org/art/collection/search/844683

Title: Cotton Merchants in New Orleans Artist: Edgar Degas (French, Paris 1834–1917 Paris) Date: 1873 Geography: Country of Origin France Culture: French Medium: Oil on linen Dimensions: 23 1/8 × 28 1/4 in. (58.7 × 71.8 cm) Frame: 32 15/16 × 38 3/16 × 3 in. (83.7 × 97 × 7.6 cm) Classification: Paintings Credit Line: Harvard Art Museums/Fogg Museum, Gift of Herbert N. Straus (1929.90) In a letter from New Orleans to James Tissot, Degas wrote, “I am preparing another [painting], less complicated and more spontaneous, better art, where the people are wearing summer dress, white walls, a sea of cotton on the tables.” Set in a light and airy space centered on a bed of tactile cotton, this breezy composition captures the casual transaction of business in the New Orleans office of the artist’s uncle, Michel Musson. One imagines that this is the “Louisiana art” Degas aimed to create, as mentioned in his letters. The seascape on the wall calls attention to the transatlantic trade of cotton, in which his brothers were directly involved as owners of a firm that purchased the raw material on behalf of French merchants. Text from: www.metmuseum.org/art/collection/search/844642

Title: Cotton Merchants in New Orleans Artist: Edgar Degas (French, Paris 1834–1917 Paris) Date: 1873 Geography: Country of Origin France Culture: French Medium: Oil on linen Dimensions: 23 1/8 × 28 1/4 in. (58.7 × 71.8 cm) Frame: 32 15/16 × 38 3/16 × 3 in. (83.7 × 97 × 7.6 cm) Classification: Paintings Credit Line: Harvard Art Museums/Fogg Museum, Gift of Herbert N. Straus (1929.90) In a letter from New Orleans to James Tissot, Degas wrote, “I am preparing another [painting], less complicated and more spontaneous, better art, where the people are wearing summer dress, white walls, a sea of cotton on the tables.” Set in a light and airy space centered on a bed of tactile cotton, this breezy composition captures the casual transaction of business in the New Orleans office of the artist’s uncle, Michel Musson. One imagines that this is the “Louisiana art” Degas aimed to create, as mentioned in his letters. The seascape on the wall calls attention to the transatlantic trade of cotton, in which his brothers were directly involved as owners of a firm that purchased the raw material on behalf of French merchants. Text from: www.metmuseum.org/art/collection/search/844642

Title: Cotton Merchants in New Orleans Artist: Edgar Degas (French, Paris 1834–1917 Paris) Date: 1873 Geography: Country of Origin France Culture: French Medium: Oil on linen Dimensions: 23 1/8 × 28 1/4 in. (58.7 × 71.8 cm) Frame: 32 15/16 × 38 3/16 × 3 in. (83.7 × 97 × 7.6 cm) Classification: Paintings Credit Line: Harvard Art Museums/Fogg Museum, Gift of Herbert N. Straus (1929.90) In a letter from New Orleans to James Tissot, Degas wrote, “I am preparing another [painting], less complicated and more spontaneous, better art, where the people are wearing summer dress, white walls, a sea of cotton on the tables.” Set in a light and airy space centered on a bed of tactile cotton, this breezy composition captures the casual transaction of business in the New Orleans office of the artist’s uncle, Michel Musson. One imagines that this is the “Louisiana art” Degas aimed to create, as mentioned in his letters. The seascape on the wall calls attention to the transatlantic trade of cotton, in which his brothers were directly involved as owners of a firm that purchased the raw material on behalf of French merchants. Text from: www.metmuseum.org/art/collection/search/844642

Title: The Crucifixion, after Mantegna Artist: Edgar Degas (French, Paris 1834–1917 Paris) Artist: after Andrea Mantegna (Italian, Isola di Carturo 1430/31–1506 Mantua) Date: ca. 1861 Geography: Country of Origin France Culture: French Medium: Oil on canvas Dimensions: 27 3/16 × 36 7/16 in. (69 × 92.5 cm) Framed: 34 7/16 × 42 13/16 × 4 5/16 in. (87.5 × 108.8 × 11 cm) Classification: Paintings Credit Line: Musée des Beaux-Arts de Tours (1934-6-1) Accession Number: MD.087 Degas often asserted that the great artists of the past “must be copied over and over again.” Among those he returned to most was the Italian Renaissance painter Andrea Mantegna. This example can be securely dated to after Degas’s return to Paris from Italy in 1861, as Mantegna’s Crucifixion (1456–59) in the Louvre was one of the sources for a composition he was working on at the time. In a notebook, Degas recorded that he sought to combine aspects of two Italian Renaissance painters’ work: “the spirit and love of Mantegna with the verve and color of [Paolo] Veronese.” Text from: www.metmuseum.org/art/collection/search/845315

Title: The Crucifixion, after Mantegna Artist: Edgar Degas (French, Paris 1834–1917 Paris) Artist: after Andrea Mantegna (Italian, Isola di Carturo 1430/31–1506 Mantua) Date: ca. 1861 Geography: Country of Origin France Culture: French Medium: Oil on canvas Dimensions: 27 3/16 × 36 7/16 in. (69 × 92.5 cm) Framed: 34 7/16 × 42 13/16 × 4 5/16 in. (87.5 × 108.8 × 11 cm) Classification: Paintings Credit Line: Musée des Beaux-Arts de Tours (1934-6-1) Accession Number: MD.087 Degas often asserted that the great artists of the past “must be copied over and over again.” Among those he returned to most was the Italian Renaissance painter Andrea Mantegna. This example can be securely dated to after Degas’s return to Paris from Italy in 1861, as Mantegna’s Crucifixion (1456–59) in the Louvre was one of the sources for a composition he was working on at the time. In a notebook, Degas recorded that he sought to combine aspects of two Italian Renaissance painters’ work: “the spirit and love of Mantegna with the verve and color of [Paolo] Veronese.” Text from: www.metmuseum.org/art/collection/search/845315

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

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

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

Title: Young Lady in 1866 Artist: Edouard Manet (French, Paris 1832–1883 Paris) Date: 1866 Medium: Oil on canvas Dimensions: 72 7/8 x 50 5/8 in. (185.1 x 128.6 cm) Classification: Paintings Credit Line: Gift of Erwin Davis, 1889 Accession Number: 89.21.3 Manet’s frequent model, Victorine Meurent, who had recently posed for the brazen nudes in Olympia and Déjeuner sur l’herbe, here appears relatively demure. However, her silk dressing gown, the small bouquet of violets she holds to her nose, and the man’s monocle hanging from her neck may signal a recent romantic encounter. Exhibited at the 1868 Salon, the painting was viewed by critics as a rejoinder to Gustave Courbet’s provocatively erotic Woman with a Parrot (1866) and may have inspired a sketch by Degas in which a parrot is perched on a model’s hand. Text from: www.metmuseum.org/art/collection/search/436964

Title: Young Lady in 1866 Artist: Edouard Manet (French, Paris 1832–1883 Paris) Date: 1866 Medium: Oil on canvas Dimensions: 72 7/8 x 50 5/8 in. (185.1 x 128.6 cm) Classification: Paintings Credit Line: Gift of Erwin Davis, 1889 Accession Number: 89.21.3 Manet’s frequent model, Victorine Meurent, who had recently posed for the brazen nudes in Olympia and Déjeuner sur l’herbe, here appears relatively demure. However, her silk dressing gown, the small bouquet of violets she holds to her nose, and the man’s monocle hanging from her neck may signal a recent romantic encounter. Exhibited at the 1868 Salon, the painting was viewed by critics as a rejoinder to Gustave Courbet’s provocatively erotic Woman with a Parrot (1866) and may have inspired a sketch by Degas in which a parrot is perched on a model’s hand. Text from: www.metmuseum.org/art/collection/search/436964