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The exhibition “Manet and Degas” enters its final two weeks
On view until January 7, 2024, at the Metropolitan Museum of Art, the exhibition “Manet/Degas” examines one of the most significant artistic dialogues in the genesis of modern art.
Source: The Metropolitan Museum of Art · Image: Edgar Degas, “In a Café (The Absinthe Drinker)”. Paris, Musée d’Orsay / Édouard Manet, “The Plum”, 1877. National Gallery of Art, Washington
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.
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—are reunited with rare, related etchings. They are 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.”
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Félix Ziem, light on canvas
From 16 December 2023 to 21 April 2024, the Palais Lumière in Évian, France, presents an exhibition dedicated to the painter Félix Ziem (1821-1911).
Source: Paris Musées – Image: Félix Ziem, “Constantinople, Sainte-Sophie au soleil levant”, c.1870-90. Musée des Beaux-Arts de la ville de Paris
One of the most prominent members of the Barbizon School, to which artists such as Jean-Baptiste Camille Corot and Jean-François Millet belonged, Félix Ziem was noted for his interest in travel and the landscapes of places such as Venice and the Near East. The popularity of his works enabled him to financially support several young painters from his residence in Montmartre.
In a press release, the Paris Musées stated: “An Orientalist painter, Félix Ziem (1821-1911) was a nomadic, unclassifiable and eccentric artist. This great traveller, friend of the Barbizon painters and admirer of Le Lorrain and Turner, occupies an original place in 19th century art. Ziem attracted a wide clientele, who loved to dream of Venice or Constantinople in front of the luminous landscapes that forged his reputation. The exhibition includes a hundred works from the Ziem donation (56 paintings, a selection of watercolours, drawings and travel diaries), which were donated to the museum in 1905.”
Dan Lam, an internationally recognized contemporary artist and influential figure in social media, is based in Texas. Known for her unique sculptural works, Lam expertly blends unconventional materials, organic shapes, and vivid colors to explore intricate dichotomies.
Her art, oscillating between beauty and the surreal, encourages viewers to contemplate deeper meanings while invoking a sense of both familiarity and wonder. Influenced by luminaries like James Turrell, Olafur Eliasson, and Lynda Benglis, Lam’s distinctive sculptures have solidified her status as a preeminent figure in today’s contemporary art landscape.
Can you share with our readers details about your childhood, family, and the environment you grew up in? Were you an artistic child?
I grew up as the only child of Vietnamese refugees. Born in a refugee camp in the Philippines, I arrived in the US as an infant. Vietnamese was my initial language, but I picked up English upon starting school. Following my parents’ divorce, my mother and I relocated frequently within Texas, primarily between Houston and Dallas/Fort Worth. Regular visits to Vietnam and Hawaii maintained my ties to family and Vietnamese culture.
From a young age, I had a penchant for creativity, often found drawing, painting, or embellishing various items. Being an only child catalyzed my imaginative pursuits. Raised primarily by my hardworking mother, I became adept at entertaining myself and cherishing moments of solitude.
What inspired your journey to becoming a sculptor?
My academic foundation lies in drawing and painting. While I can’t pinpoint the exact reason for this focus, it might have stemmed from an idealistic view of the artist’s role. However, during my graduate studies, I felt an increasing inclination toward three-dimensional art. Although I initially crafted wall-based pieces post-graduation, my passion organically transitioned to sculptural forms. I remain fascinated by the myriad ways art can occupy space.
Reflecting on your art career, can you pinpoint any significant events that greatly influenced your artistic development?
Engaging with social media marked a pivotal moment, introducing me to broader audiences and facilitating numerous exhibitions. While my art was never solely influenced by online metrics, this exposure made me more cognizant of the viewer’s role. Consequently, I gravitated toward crafting interactive and immersive artworks, aiming to transform passive viewers into active participants.
As an artist, what challenges did you face and overcome in your creative journey?
The creative realm is inherently unpredictable, devoid of a clear roadmap. Recognizing this early on, I embraced the non-linear trajectory of artistic evolution. Every artist’s experiences are unique, shaped by individual contexts and perspectives. Through trial, error, and introspection, I’ve cultivated trust in my instincts, ensuring that my creations emanate authenticity.
How do you generate innovative ideas for your artwork?
I maintain receptivity to spontaneous ideas, documenting them as they emerge, whether as vivid images or subtle nuances. Some concepts evolve as extensions of ongoing projects, prompting further exploration. I’ve found that manual engagement—actually crafting something—fuels my creativity, paving the way for a continuous influx of ideas.
Please walk us through your solo show, GUTTATION, that opened on December 16 at Hashimoto Contemporary.
The title “Guttation” draws inspiration from a natural phenomenon observed in plants and fungi, where they expel excess water and nutrients. My artworks mirror these intricate textures, delving into the delicate balance between allure and repulsion. Symbolically, this exhibition embodies my journey of relinquishing unnecessary baggage, symbolizing a phase of introspective purging.
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Interview organized by Maximus Communications. The World Art News (WAN) is not liable for the content of this publication. All statements and views expressed herein are opinions only. Act at your own risk. No part of this publication may be reproduced without written permission. © The World Art News
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