Showing posts with label metropolitan museum of art. Show all posts
Showing posts with label metropolitan museum of art. Show all posts

Impressionism, Fashion, and Modernity

I enjoyed this so much I decided to repost my notes from this 2013 exhibition.

This was an incredible exhibition at the Metropolitan Museum of Art in NYC. It included some of the most engaging works of French Impressionists: Manet, Monet, Morisot, Degas, and Tissot, to name just a few of my favorites, all in one place centered on  an unusual theme of fashion and its relationship to "art of the moment."

There are no landscapes here just portraits of average (and not-so-average!) Parisian women and men (mostly the former though), intermingled with fashions from that era; in one case the actual dress being modeled in the painting. And if you ever wanted to know what a corset really looked like, go no further.

Fascinating!

Located in the Tisch Galleries, which is right next door to the 19th century European Painting. Ask directions, because if you're like me getting around the Met can be a bit daunting, especially if you're looking for something very specific, and frankly the map isn't all that helpful.

No photography but there is a special room set up to sell various reproductions and a number of books on Impressionism, and of course the catalog itself. Buy it and help the Met.
"Paris Street: Rainy Day" (1877) by Gustave Caillebotte, The Art Institute of Chicago
"In the Conservatory" (1881) by Albert Bartholome, Musée d'Orsay (model Bartholome's wife)
"Le Repos" (1871) by Edouard Manet, Museum of Art, Rhode Island School of Design (model: Berthe Morisot)
"Women in the Garden" (1866) by Claude Monet, Musée d'Orsay
"Young Lady in 1866" (1866) by Edouard Manet, The Metropolitan Museum of Art (model: Victorine Meurent)

"Luncheon on the Grass" central panel (1865-66) by Claude Monet, Musée d'Orsay
"Camille" (1866) by Claude Monet, Kunsthalle Bremen (model: Camille Monet)
"The Swing" (1876) by Auguste Renoir, Musée d'Orsay
"The Loge" 1874) by Auguste Renoir, The Courtauld Gallery, London
"July" Specimen of a Portrait" (1878) by James Tissot, The Cleveland Museum of Art

Edgar Degas at the Metropolitan Museum of Art

Wednesdays with Edgar Degas!

Mademoiselle Dihau, 1867

The Dancing Class, 1870

The Dance Class, 1874

The Rehearsal, 1874

Dancers practicing at the barre, 1877

Dancer onstage, 1877

The dance lesson, 1879

Sulking, c. 1870

Manet at the Metropolitan Museum of Art

Mondays with Edouard Manet!

These few images don't represent all the Manet holdings at the Metropolitan Museum of Art in New York City, of course, but they happen to be my personal favorites from the museum's new digital online collection.

All the narrative text is from the Met descriptions online.
Mademoiselle Victorine Meurent in Espada costume
(1862)
"Manet depicted model Victorine Meurent (1844–1928) in the guise of a male espada, or matador, borrowing her pose from a Renaissance print. Victorine’s shoes are unsuitable for bullfighting, and the pink cape that she flourishes is the wrong hue, but she carries off her role with panache. The backdrop reproduces a scene from Goya’s Tauromaquia series, celebrating the feats of bullfighters. When this painting was exhibited at the infamous Salon des Refusés of 1863, a commentator noted, 'Manet loves Spain, and his favorite master seems to be Goya, whose vivid and contrasting hues, whose free and fiery touch he imitates.'"

Young woman with a a parrot, or young woman in a pink peignoir
(1866, Victorine Meurent)
"Manet’s model, Victorine Meurent, had recently posed as the brazen nudes in Olympia and Luncheon on the Grass (both Musée d’Orsay, Paris). Here, appearing relatively demure, she flaunts an intimate silk dressing gown. Critics eyed the painting as a rejoinder to Courbet’s Woman with a Parrot (29.100.57) and as indicative of Manet’s "current vice" of failing to "value a head more than a slipper." Recent scholars have interpreted it as an allegory of the five senses: the nosegay (smell), the orange (taste), the parrot-confidant (hearing), and the man’s monocle she fingers (sight and touch)."

Madame Edouard Manet - Suzanne Leenhoff, 1830-1906
(1866)
"Manet undertook only six portraits of his wife, the Dutch pianist Suzanne Leenhoff, in the years after their marriage in 1863. Half were left unfinished, including the present work, providing rare insight into the artist’s technique. He sketched the figure and background with broad strokes, then turned to the facial features, scraping off the face at least twice, before eventually abandoning the picture."

Mademoiselle Isabelle-Lemonnier, 1857-1926
"Isabelle Lemonnier was the daughter of a successful Parisian jeweler and the younger sister of Marguerite Charpentier, whose grand portrait by Renoir is also in the Metropolitan’s collection (07.122). Between 1879 and 1882 Manet made several portraits of Isabelle, of whom he seems to have been fond; in the summer of 1880 he sent her a series of letters decorated with charming watercolor sketches." (Metropolitan Museum of Art)

Mademoiselle Lucie Delabigne, 1859-1910
"This pastel depicts Lucie Delabigne, a fashionable Parisian courtesan who was also the subject of portraits by Jean-Louis Forain, Édouard Detaille, and other artists. Manet may have met her through the writer Émile Zola, who based many passages in his book Nana on observations made at Lucie’s home. The novel was published in 1880, just a year after this work was made." (Metropolitan Museum of Art)

Monet family in garden at Argenteuil
(1874)
"In July and August 1874 Manet vacationed at his family’s house in Gennevilliers, just across the Seine from Monet at Argenteuil. The two painters saw each other often that summer, and on a number of occasions they were joined by Renoir. While Manet was painting this picture of Monet with his wife Camille and their son Jean, Monet painted Manet at his easel (location unknown). Renoir, who arrived just as Manet was beginning to work, borrowed paint, brushes, and canvas, positioned himself next to Manet, and painted Madame Monet and Her Son (National Gallery of Art, Washington, D.C.)."

The funeral
(1867)

"Manet’s unfinished painting is thought to depict the funeral of the writer Charles Baudelaire, which took place on September 2, 1867. The artist, unlike other friends who had yet to return from vacation or stayed away owing to the threatening summer storm, was among the few mourners present. This view of the meager funeral cortège at the foot of the Butte Mouffetard, a hill in southwest Paris, is framed by the silhouettes of the towers and cupolas of the Val de Grâce, the Panthéon, Saint-Etienne-du-Mont, and the Tour de Clovis in the background.

"Manet kept the picture until his death. In 1894 Pissarro acquired it in exchange for one of his own landscapes." (Metropolitan Museum of Art)

"Impressionism, Fashion and Modernity" at the Met in New York City

This is an incredible exhibition of some of the most engaging works of French Impressionists: Manet, Monet, Morisot, Degas, and Tissot, to name just a few of my favorites, all in one place centered on  an unusual theme of fashion and its relationship to "art of the moment."
There are no landscapes here but portraits of average (and not-so-average!) Parisian women and men (mostly the former though), intermingled with fashions from that era; in one case the actual dress being modeled in the painting. And if you ever wanted to know what a corset really looked like, go no further.

Fascinating!

Located in the Tisch Galleries, which is right next door to the 19th century European Painting. Ask directions, because if you're like me getting around the Met can be a bit daunting, especially if you're looking for something very specific, and frankly the map isn't all that helpful.

No photography but there is a special room set up to sell various reproductions and a number of books on Impressionism, and of course the catalog itself. Buy it and help the Met.
"Paris Street: Rainy Day" (1877) by Gustave Caillebotte, The Art Institute of Chicago
"In the Conservatory" (1881) by Albert Bartholome, Musée d'Orsay (model Bartholome's wife)
"Le Repos" (1871) by Edouard Manet, Museum of Art, Rhode Island School of Design (model: Berthe Morisot)
"Women in the Garden" (1866) by Claude Monet, Musée d'Orsay
"Young Lady in 1866" (1866) by Edouard Manet, The Metropolitan Museum of Art (model: Victorine Meurent)
"Luncheon on the Grass" central panel (1865-66) by Claude Monet, Musée d'Orsay
"Camille" (1866) by Claude Monet, Kunsthalle Bremen (model: Camille Monet)
"The Swing" (1876) by Auguste Renoir, Musée d'Orsay
"The Loge" 1874) by Auguste Renoir, The Courtauld Gallery, London
"July" Specimen of a Portrait" (1878) by James Tissot, The Cleveland Museum of Art

Trip to NYC and the Met

This past Wednesday Susie and I took the 6:30am Peter Pan bus to America's own peculiar version of Never, Never Land: New York City. The motivation for the day trip was to see the French Impressionists at the Met, especially Degas and Manet. We also hoped to stroll Fifth Avenue and check out the lights and windows in the bargain.

Times Square - ready for New Year's Eve
We arrived in Gotham a little after 10am and upon leaving the Port Authority bus terminal plunged into the wilds of 42nd Street and Times Square, that latter being mostly closed off for the upcoming New Year celebration.
Late afternoon, Rockefeller Plaza
We then headed in the direction of Fifth Avenue and soon found ourselves enmeshed in a throng of what appeared to be thousands of Europeans looking to have their pictures taken in front of Rockefeller Plaza. I suspect some of those people are still waiting in line to get onto the skating rink:

Anyway, we strolled up Fifth Avenue past one designer store after another, paying our respects to the most outrageous of American consumerism. After passing the Plaza Hotel and keeping both FAO Schwarz and the Apple Store at a safe distance on our right we headed into peace and tranquility of Central Park. We stayed on the eastern side of the park until we reached the Metropolitan Museum of Art, although we did stop and say hi to "Alice" and her friends along the way. . .
Central Park
Alice in Wonderland and friends, Central Park


Standing in line to get into the Metropolitan Museum of Art
Apparently all those tourists we passed through at Rockefeller Plaza had beat us to the Met -- we had to wait about 20 minutes or so to get inside the building, pass through security and then more than a half hour in line to get tickets. The place was, in a word, packed. Using the handy map we found our way to the second floor (rooms in the 800s) -- although curiously the stairs were all cordoned off and every had to take elevators. Odd, we thought. (And of course, there were long lines of women waiting to use the bathrooms. What's up with that anyway? Why don't they simply double the size of women's restrooms?)

But it was a wonderful experience.  We got the chance to spend a few choice minutes with some of the world's greatest art -- how cool is that, eh?

Anyway, one young woman who wasn't waiting for the loo was, however, waiting to be seen -- Faustine Leo, cousin of the painter Karl-Heinrich Lehmann who, coincidentally, painted her portrait when she was just 10 years old in 1842:
"Faustine Leo (1832-1865," by Karl-Heinrich Lehmann (her cousin), 1842


"The Little Dancer" by Edgar Degas
This is now the 3rd copy we have seen out of, I believe, 14 copies worldwide, of Degas' "Little Dancer." (The other two were in the Musee d'Orsay in Paris and The Clark in Williamstown, MA.)
That's Victorine Merine dressed as a matador in the far center painting, right by the arched entryway


"Young Lady in 1866" by Edouard Manet;
that's Victorine Meurine, again; she would also pose in Manet's scandalous work, "Olympia"
"Saint-Philippe du Roule" by Jean Beraud - I swear the woman holding the little girl's hand was staring right at me
"Fishing," 1862-63, by Edouard Manet
"The Monet Family in their garden at Argenteuil," 1874 by Edouard Manet
After leaving the Met we bundled up before heading out into the biting wind. Once outside we thought, "hey, let's cross Central Park to the west side." In fact, we got lost a few minutes later in that part of the park known as "The Ramble" -- which is exactly what we did for about a half hour or so until we found our way out again. What a place, though! sculptures seemed to abound everywhere we turned -- we saw busts of Schiller, Beethoven and even Victor Herbert, all seemingly scattered around with no rhyme or reason.

As we were about to pass out of the park onto Central Park West I caught sight of this statue put up in honor of the men of the Seventh Regiment (presumably from New York) who died in service of the Union during the American Civil War.
Memorial to the Seventh Regiment, Central Park
And just at the corner of the park where Broadway crosses Central Park West and 59th Street, where the park joins Columbus Circle is this incredible memorial to the dead from the USS Maine.
Memorial to the dead from the USS Maine, Central Park, Columbus Circle
As we passed the Maine memorial and walked along 59th Street we recalled with fondness the grand times we had in this neighborhood quite a few years ago -- and thought to seek out a restaurant somewhere in the area that we had remembered being quite good. All we could remember was that the name began with "Red". . . And sure enough as we turned off of 59th down 7th Avenue, after about a block and a half we came to the "Redeye Cafe."
Redeye Cafe on 7th Avenue, just south of Central Park
We found a quiet booth near the front overlooking 7th Avenue, and enjoyed a wonderful late and leisurely lunch sitting in front of a spectacular Peter Max painting.
Peter Max painting in back of our table at the Redeye
Leaving the restaurant we cut back over to Fifth Avenue where we hoped to get a glimpse of the holiday windows and lights. As we walked south we found the holiday decorations rather disappointing. The windows all seemed so pedestrian and lifeless, at least compared to past years when we've strolled through this part of Never, Never Land. No lost boys, no Wendy, no excitement -- just thousands of tourists, cheek-by-jowl, each one with a handy-dandy little digital camera fused to the palm of each hand, snapping off photos in the twilight. Even when we sought escape inside Lord & Taylor, the hordes passed through with us -- but the decorations were nicer to be sure:





Our time here was at an end and we headed back to find our bus. No sooner had we returned to the Port Authority and found our gate than we learned that Peter Pan had overbooked the one-day excursion fares it was offering on its website (the reason we took the bus in the first place). But the company did the right thing -- it had no choice, I suppose -- and arranged for an additional bus to make sure everyone got back to Providence. In fact, not long after we got to the gate, we got aboard and tucked ourselves into two seats as the bus pulled out into commuter traffic some 45 minutes early.

I found myself gazing out of the window, relishing not having to drive through snarling New York traffic and find my way off Manhattan Island in the dark, watching hypnotically as the lights of the Great City come on. we sped north up through Harlem, over the Triboro Bridge and eventually onto I-95 pointed north to Rubetown, capital of Gritworld (where the state motto was recently changed  from "Creatively stealing your money since 1639" to "making a bad situation worse").

Funny thing, though. With all of our walking up and down some of the fanciest parts of the Big Apple we didn't come across one pastry shop, nor one bakery.  And that seems explains so many things, we thought. . . . so many things.

Have a wonderful New Year!

Chihuly in the Japanese Garden

We returned to Meijer Gardens recently to finish off our tour of the Chihuly sculptures, this time focusing on the Japanese Garden. new take...