Thursday, 1 March 2012

M/M Rembrandt and Degas: Portrait of the Artist as a Young Man February 23–May 20, 2012

Images, from left to right: Rembrandt van Rijn, Sheet of Studies with Self-Portrait (detail), 1630–34. Etching, 2nd State. Rijksmuseum, Amsterdam; Edgar Degas, Self-Portrait (detail), ca. 1855–57. Red chalk on laid paper. National Gallery of Art, Washington, Woodner Collection 1991

 
Exhibition Location: Robert Lehman Wing, Gallery 955, main floor


"What I do is the result of reflection and study of the great masters."
Edgar Degas (1834-1917)

Rembrandt and Degas: Portrait of the Artist as a Young Man, on view at The Metropolitan Museum of Art beginning February 23, will feature a series of early portraits by the two artists and highlight the Dutch master’s guiding influence on the young French Impressionist. The first exhibition to examine this subject, it will unite some two dozen works by the artists, including oil portraits, drawings, and etchings from the Metropolitan Museum’s collection and other museums in the United States and abroad. The intimate scale of the exhibition and size of the works on display will illuminate the unique kinship that exists between the self-portraits created by Rembrandt van Rijn (1606-1669) and Edgar Degas (1834-1917) at the start of their illustrious careers.

The exhibition was organized by the Rijksmuseum, in association with The Metropolitan Museum of Art and the Sterling and Francine Clark Art Institute.

The Metropolitan Museum has enjoyed recent collaborations with both institutions, respectively: Miró: The Dutch Interiors with the Rijksmuseum (2010) and Impressionist and Early Modern Paintings: The Clark Brothers Collect with the Sterling and Francine Clark Art Institute (2007).

In the 19th century, appreciation for Rembrandt’s genius, which had wavered since his death, gained renewed popularity, particularly in France. By the 1850s, when Rembrandt enjoyed nearly cult-like status, Degas was seeking to establish his own artistic identity. Frustrated by the rigidity of the École des Beaux-Arts, in Paris, he quit school, setting off for Italy for three years of independent study to find his voice as an artist. During this pivotal period, Degas studied prints by Rembrandt in French and Italian collections, often copying them into his sketch books, and even developing one of them into an etching. These exercises gave way to a series of self-portraits in which Degas explored a range of tonal effects, from subtle shading to dramatic contrasts of light and dark, inspired by Rembrandt’s graphic invention.

This highly focused exhibition—not unlike the Metropolitan’s recent Cézanne’s Card Players in spring 2011—will afford a unique perspective on the Metropolitan Museum’s Degas Self-Portrait (ca. 1855-56) in oil and more than a dozen works on paper by the artists, including multiple states of etchings, which are rarely on view. It will also present a handful of works by contemporaries of Degas, such as Henri Fantin-Latour, to document that Degas was not alone in his admiration for Rembrandt. Anchored by works from the Metropolitan Museum’s distinguished Degas holdings (which are second only to the French National Museums) and from the Rijksmuseum, the exhibition will also feature key loans from the Sterling and Francine Clark Art Institute, the Bayerische Staatgëmaldesammlungen in Munich, The Getty Museum, the National Gallery of Art, Washington, and the Morgan Library & Museum.

The exhibition was previously on view at the Rijksmuseum in Amsterdam and at the Sterling and Francine Clark Art Institute in Williamstown, Massachusetts.

Rembrandt and Degas: Portrait of the Artist as a Young Man is organized at the Metropolitan Museum by Susan Alyson Stein, Curator, in the Museum’s Department of European Paintings.