IMPRESSIONISM, FASHION, AND MODERNITY ON VIEW AT METROPOLITAN MUSEUM OF ART (NYC) BEGINNING FEBRUARY 26

EXHIBITION DATES: February 26 – May 27, 2013

EXHIBITION LOCATION: The Tisch Galleries

IMPRESSIONISM, FASHION, AND MODERNITY AT THE METROPOLITAN MUSEUM OF ART will present a revealing look at the role of fashion in the works of the Impressionists and their contemporaries.  Some 80 major figure paintings, seen in concert with period costumes, accessories, fashion plates, photographs, and popular prints, will highlight the vital relationship between fashion and art during the pivotal years, from the mid-1860s to the mid-1880s, when Paris emerged as the style capital of the world.

IMPRESSIONISM, FASHION, AND MODERNITY

IMPRESSIONISM, FASHION, AND MODERNITY AT THE METROPOLITAN MUSEUM OF ART, NEW YORK CITY

With the rise of the department store, the advent of ready-made wear, and the proliferation of fashion magazines, those at the forefront of the avant-garde—from MANET, MONET, and RENOIR to BAUDELAIRE, MALLARMÉ, and ZOLA—turned a fresh eye to contemporary dress, embracing la mode as the harbinger of la modernité.  The novelty, vibrancy, and fleeting allure of the latest trends in fashion proved seductive for a generation of artists and writers who sought to give expression to the pulse of modern life in all its nuanced richness. Without rivaling the meticulous detail of society portraitists such  as JAMES TISSOT or ALFRED STEVENS or the graphic flair of fashion plates, the Impressionists nonetheless engaged similar strategies in the making (and in the marketing) of their pictures of stylish men and women that sought to  reflect the spirit of their age.

Frederic BAZILLE’s Family Reunion (1867)

Frederic BAZILLE’s Family Reunion (1867)

Frederic BAZILLE’s Family Reunion (1867)

Caillebotte’s Paris Street, Rainy Day (1877)

This stunning survey, anchored by many of the most celebrated works of the Impressionist era, will illustrate the extent to which artists responded to the dictates of fashion between the 1860s, when admiring critics dubbed MONET’s portrait of his future wife “The Green Dress,” and the mid-1880s, when DEGAS capped off his famous series of milliners and SEURAT pinpointed the vogue for the emphatic bustle. Highlights of the exhibition include Monet’s Luncheon on the Grass (1865-66) and Women in the Garden (1866), BAZILLE’s Family Reunion (1867), ALBERT BARTHOLOMÉ’s In the Conservatory (ca. 1881, paired with the sitter’s dress) and 15 other key loans from the Musée d’Orsay;  Monet’s Camille (1866) from the KUNSTHALLE, Bremen, RENOIR’s Lise –The Woman with the Umbrella (1867) from the MUSEUM FOLKWANG, ESSEN, and MANET’s La Parisienne (ca. 1875) from the NATIONAL MUSEUM, STOCKHOLM, which have never before traveled to the U.S.; CAILLEBOTTE’s Paris Street; Rainy Day (1877) and Degas’s The Millinery Shop (ca. 1882-86) from the ART INSTITUTE OF CHICAGO; Renoir’s The Loge (1874) from THE COURTAULD GALLERY, LONDON; and MARY CASSATT’s In the Loge (1878) from the MUSEUM OF FINE ARTS, BOSTON.

On the left, In the Conservatory, showing Madame Bartholome painted by her husband Albert Bartholome, 1880. On the right, the dress worn by his wife in the painting. Currently on display together at the Musee D’Orsay exhibition Impressionisme et la Mode. Madame Bartholome, here dressed fashionably in a department store made dress of plum polka dots on white cotton with extensive skirt pleats, died not long after this image was painted. In his grief, Albert preserved the dress to honor her memory. The painting was acquired by the D’Orsay in 1991. The dress was acquired the following year.

On the left, In the Conservatory, showing Madame Bartholome painted by her husband Albert Bartholome, 1880. On the right, the dress worn by his wife in the painting. Currently on display together at the Musee D’Orsay exhibition Impressionisme et la Mode.
Madame Bartholome, here dressed fashionably in a department store made dress of plum polka dots on white cotton with extensive skirt pleats, died not long after this image was painted. In his grief, Albert preserved the dress to honor her memory. The painting was acquired by the D’Orsay in 1991. The dress was acquired the following year. (jeanjeanie61)

Alongside both masculine and feminine costumes, a full complement of period photographs and illustrations will serve to vivify the ongoing dialogue between fashion and art, and afford a sense of the late-19th-century Parisian milieu that inspired, provoked, and nurtured the talents—and often, the ambitions—of the painters of modern life.

MANET - La Parisienne (ca. 1875)

MANET – La Parisienne (ca. 1875)

After its display in New York, the exhibition will travel to the ART INSTITUTE OF CHICAGO (June 26–September 22, 2013). It is currently on view at the MUSÉE D’ORSAY in Paris (through January 20, 2013).

Renoir, Lise with a Parasol, 1867, Folkwang Museum, Germany

Renoir, Lise with a Parasol, 1867, Folkwang Museum, Germany

The exhibition is accompanied by a fully illustrated catalogue with essays by 14 international scholars in the fields of fashion, photography, literature, art, and architectural history, which is published by the Art Institute of Chicago, and is available in the Museum’s book shops (available in hardcover, $65, and paperback, $40).

The exhibition is made possible in part by THE PHILIP AND JANICE LEVIN FOUNDATION and the JANICE H. LEVIN FUND. Additional support is provided by the WILLIAM RANDOLPH HEARST FOUNDATION.

Degas’s The Millinery Shop (ca. 1882-86)

Degas’s The Millinery Shop (ca. 1882-86)

The exhibition was organized by THE METROPOLITAN MUSEUM OF ART, NEW YORK, the ART INSTITUTE OF CHICAGO, and the MUSÉE D’ORSAY, PARIS.

IMPRESSIONISM, FASHION, AND MODERNITY is organized by SUSAN ALYSON STEIN, Curator in the DEPARTMENT OF EUROPEAN PAINTINGS at The Metropolitan Museum of Art, in collaboration with GLORIA GROOM, the DAVID AND MARY WINTON GREEN CURATOR in the DEPARTMENT OF MEDIEVAL TO MODERN EUROPEAN PAINTING AND SCULPTURE, ART INSTITUTE OF CHICAGO; GUY COGEVAL, PRESIDENT, MUSÉE D’ORSAY and MUSÉE DE L’ORANGERIE, PARIS; and PHILIPPE THIÉBAUT, CURATOR, MUSÉE D’ORSAY, PARIS.

A range of education programs will complement the exhibition. Education programs are made possible by THE GEORGES LURCY CHARITABLE AND EDUCATIONAL TRUST. An audio tour, part of the Metropolitan’s Audio Guide program, will be available for rental ($7, $6 for members, and $5 for children under 12). The Audio Guide program is sponsored by BLOOMBERG.

The Metropolitan Museum’s website will feature the exhibition www.metmuseum.org.

VISITOR INFORMATION

Hours — Main Building

Fridays and Saturdays – 9:30 a.m.-9:00 p.m.

Sundays, Tuesdays-Thursdays – 9:30 a.m.-5:30 p.m.

Hours — THE CLOISTERS MUSEUM AND GARDENS

March-October: Tuesdays-Sundays – 9:30 a.m.-5:15 p.m.
November-February: Tuesdays-Sundays – 9:30 a.m.-4:45 p.m.

MET HOLIDAY MONDAYS in the Main Building and The Cloisters: Dec. 31, 2012; Jan. 21, Feb. 18, March 25, April 1, and May 27, 2013

9:30 a.m.-5:30 p.m.

All other Mondays closed; Jan. 1, Thanksgiving, and Dec. 25 closed

Note: Closing time for Met Holiday Mondays on December 24 and 31 will be 5:00 p.m.

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