Where? Room 14 of the Musée d’Orsay
What do you see? The 27-year old writer Émile Zola sits straight in a cushioned chair. He is fashionably dressed as a Parisian dandy, wearing a black jacket with grey pants. One hand rests on his knee, half-clenched. In his other hand, he holds Charles Blanc’s L’Histoire des Peintres, a book about art history. Zola seems to be in thought about something he has just read. The blankness of his expression makes the objects around him the subject of the viewer’s attention. In the background are artifacts from Japan, including an ink well on the desk, a painted screen on the far left, and a print of Utagawa Kuniaki’s Wrestler of Onaruto Nadaemon on the wall. The organized clutter atop his desk accentuates his wit and intellect. Among the books is a light blue pamphlet in which Zola defended Manet controversial painting Olympia. Directly above it is a print of Olympia herself. Behind it is a print of another famous painting, The Triumph of Bacchus by Diego Velázquez.
Backstory: In 1867, Manet had a solo exhibition. His best-known work, Olympia, was put on display for the second time. The work had received much criticism in 1865 for its avant-garde subject matter and “unrefined” style. Upon its second public display, the painting was once again the subject of many harsh comments. Writer Émile Zola came to Manet’s defense and wrote an article in La Revue du XXe siècle. The article praised Manet’s bold style and technique, asking viewers to overlook the “risque” subject matter. Zola later published the article in its own brochure that sits on his desk in this portrait. As thanks, Manet painted Zola’s portrait. Over the course of several months, Zola posed extensively for the portrait in Manet’s studio. According to Zola, these sessions were long and exhausting as Manet did not engage in much conversation when he was painting. Manet’s main emphases in this portrait were Zola’s intellect and the aesthetics of the Far East. With the influx of Japanese goods into France in the mid-nineteenth century, many artists began imitating the flatness and simplicity of Japanese woodblock prints. This movement, known as Japonisme, was a precursor to Impressionism.
Who is Émile Zola? A French writer who was born in 1840 in Paris. He is often credited as a founder of the naturalism movement in literature. He was childhood friends with Paul Cézanne who later introduced him to Manet. Zola was unemployed and lived in poverty for two years of his adult life. It was only when he published his first novel, Claude’s Confession that he was able to land a job as a journalist. Zola went on to write many more novels and published his best-known series, The Rougon Family Fortune. In the 1860s, Zola defended Impressionist and Post-Impressionist artists like Cézanne, Manet, Renoir, and Monet.
Who is Manet? Édouard Manet was born in 1832 in Paris where he died 51 years later. He was a Parisian Realist painter who studied in the studio of Thomas Couture for six years. Afterward, however, Manet decided against attending the official art school of the French Academy, the École des Beaux-Arts. Early on in his career, he befriended the poet Charles Baudelaire whose work featured urban outsiders such as prostitutes and street entertainers. Baudelaire’s writing inspired Manet to continue painting unusual characters alongside his other works that featured better-known figures such as musicians and writers. Manet was friends with Monet who he first considered to be a rival. He believed Monet to be copying his work. However, the pair made amends and eventually traveled to Argenteuil together. Many works came out of this trip, including Monet Painting in his Studio Boat.
Fun fact: Manet altered the print of Olympia in his portrait for Zola. Instead of facing the viewer, Olympia is looking at Émile Zola who had publicly defended her after this painting had received so much criticism at the Paris Salon (a very popular yearly art exhibition) of 1865. Three years later, Manet submitted the painting to the Paris Salon of 1868 where it got accepted. The painting received mixed critical reviews. Some thought that the portrait was one of the best at the Salon of that year, while others thought the painting lacked animation and that it looked more like a still life than a portrait.
Where? Temporary Exhibition Hall on the Ground floor of the Musée d’Orsay
What do you see? A Parisian prostitute, Olympia, lies down on her bed in her apartment. She rests atop a floral cloth, staring directly at the viewer as her servant presents her with a bouquet (perhaps a gift from an admirer or patron). Olympia’s left hand is firmly placed over her private area. She is pale, and her features are not idealized as was typically done by other artists at this time. Instead, Manet painted her realistically. Olympia’s body has dark outlines and broad color that lacks shading. She appears flat and stands in stark contrast to the dark brown and green background behind her. At her feet is a startled black cat with its tail raised.
Backstory: Victorine Meurent served as the model for Olympia. She was a painter herself and served as a model for various artists. Manet liked her as a model because of her petite stature and red hair. Laure served as the model for the maid, and she posed for several other paintings of Manet. Édouard Manet got his inspiration for Olympia from the Venus of Urbino, the iconic Renaissance painting by Titian in the Uffizi Museum. Titian’s painting is a classic example of the female nude as a manifestation of ideal beauty. His reclining nude, like most, was shrouded in perfection and mythology. It was not inherently sexual. In his painting, Manet reduced the female nude to a much more realistic form. There is no beauty or goddess to admire; the viewer is confronted with Olympia’s sexuality as well as the reality of prostitution in Paris. And unlike the demure and reserved reclining nudes of the past, Manet’s modernized version features a woman who addresses the viewer and holds a firm posture.
Controversy: The painting caused quite an uproar when it was displayed in the Paris Salon in 1865. The French public was not ready to receive such a bold painting that deviated so strongly from what they were used to. Over seventy critics condemned the work for a variety of reasons and political cartoons mocking Olympia as ugly surfaced in newspapers and magazines. The realistic style of this painting was not appreciated. Moreover, to show a sex worker as so bold and independent was very unconventional during the time. The idea that Olympia could live so comfortably (with flowers and jewelry) shook critics to the core. In addition, the painting breaks tradition by showing an imperfect female nude who stands in contrast to the flawless depictions of Venus from the past.
Who is Olympia? In 1860s France, “Olympia” was an alias commonly used by prostitutes or courtesans. She is not of lower status as we would expect. Instead, she is shown to be of a higher class, adorned with jewelry and resting on a floral blanket with a servant at her side.
Who is Manet? Édouard Manet was born in 1832 in Paris where he died 51 years later. He was a Parisian realist painter who studied in the studio of Thomas Couture for six years. Afterward, however, Manet decided against attending the official art school of the French Academy, the École des Beaux-Arts. Early on in his career, he befriended the poet Charles Baudelaire whose work featured urban outsiders such as prostitutes and street entertainers. Baudelaire’s writing inspired Manet to continue painting unusual characters alongside his other works that featured better-known figures such as musicians and writers. Manet also had a love for the sea and occasionally liked to capture this in this works, such as the Battle of the Kearsarge and the Alabama in the Philadelphia Museum of Art. While most of Manet’s works can be classified under Realism, he is also one of the masterminds behind the development of Impressionism. The Rue Mosnier with Flags in the Getty Museum is a good example of his Impressionist ideas.
Fun fact: In 1867, Manet held a solo exhibition during the World’s Fair in Paris. Once again, Olympia was on display. When the painting received criticisms once again, writer Emile Zola defended it with a pamphlet that praised Manet’s bold style and technique. He asked viewers to overlook the subject matter and appreciate Manet’s avant-garde approach to art. As thanks, Manet produced a portrait of Zola, Portrait of Emile Zola. It features Zola in his study, reading some of his own works. In the upper right, Manet added a miniature print of Olympia to Zola’s wall.
What do you see? A young dancer of fourteen years old is shown at 70 percent of her real size (the sculpture is a bit taller than 3 foot or about 1 meter). She seems relaxed and is standing in ballet’s fourth position (there are seven positions for the feet in ballet, and the ballerina here has her feet in open fourth position – about 12 inches apart and facing different directions). She is sculpted realistically and Degas intends to show the hard life of a ballet dancer and what it does to her body. Her back leg supports most of her weight. She has thin legs and arms. She holds her arms behind her back and has her hands clasped together. She confidently holds up her chin, pushes her shoulders back, and her eyes are half closed. She wears ballet shoes, a real tutu made of tarlatan, and a gold-colored bodice (a vest) made of linen. She also wears a real ribbon in her plaited hair. Degas used real hair for this sculpture, which he covered in wax.
Backstory: The original wax sculpture in the National Gallery of Art is mixed with some real materials (like the tutu and the ribbon in her hair). The sculpture has been modeled after a fourteen-year-old girl named Marie van Goethem. She lived in Paris and joined the Paris Opera Ballet to escape the poverty of her family. Degas was a frequent visitor at the ballet school and watched their classes and performances. He used Marie not only as a model for this sculpture but also for quite some other works, including many drawing of dancers that he made. One example of such a drawing is Dancer Bending Forward in the Chicago Art Institute. Modeling for Degas was a nice way for Marie to make some extra money. She not only modeled dressed as a ballerina but also nude, which allowed Degas to study her anatomy in detail. In the National Gallery of Art, you can also see two studies in the nude of the Little Dancer Aged Fourteen. Marie graduated from the ballet school in 1880 and would start to perform in ballet performances. However, a couple of years later, in 1882, she missed several rehearsals and was dismissed. After that, we do not know what happened to Marie’s further life.
Copies: The National Gallery of Art holds two statues (the original wax statue and a bronze casting) of the Little Dancer Aged Fourteen as well as two nude studies for this statue. When Degas died, about 150 statues were found in his studio of which only one of the versions in the National Gallery of Art had been shown to the public at an exhibition. Many of these statues were in bad shape, but about half of these statues were repaired after his death. The National Gallery of Art has many of these original statues. The surviving family of Degas decided to create about 22 bronze casts of these statues. Because of this, nowadays, bronze copies of the Little Dancer Aged Fourteen can be found in many other locations besides the ones mentioned on the top. For example, the statue is also in the Chicago Institute of Art, Harvard Art Museums, Metropolitan Museum of Art (currently not on view), and the Norton Simon Museum. One of the bronze copies of the Little Dancer Aged Fourteen was sold in 2009 for $19 million.
Who is Degas? Hilaire-Germain-Edgar De Gas (1834-1917) was born in Paris. Whereas he spent most of his life in Paris, he also lived for three years in Italy and spent time in Florence, Naples, and Rome. He started as a more traditional painter by creating historical stories and portraits, but during the 1860s he changed his style and became one of the founders of impressionism, together with artists like Cézanne, Monet, Pissarro, and Renoir. He changed his focus and started to paint scenes from everyday life with a particular interest in dancers, theater, and horseracing. He moved on to focus on more realistic paintings, and one such example is Interior in the Philadelphia Museum of Art. He made statues mainly as training to understand the anatomy and movements of people.
Fun fact: When Degas showed this sculpture at an Impressionist exhibition in Paris in 1881, many people did not like it at all. For example, some people called the sculpture a monkey. It also did not help that the sculpture was on display in a glass vitrine. Sculptures typically were idealized versions of well-known people created in marble. Instead, Degas created an unknown young girl from Paris, and the girl did not look at all like a goddess. On top of that, he created this sculpture from beeswax and he added objects like a tutu to the statue. Because of the negative reactions Degas got, he removed the statue from the exhibition and stored it in his studio until his death.
Interested in a copy for yourself? Canvas or statue (Amazon links).
Where? Room 31 of the Musée d'Orsay
What do you see? An open-air dance in Montmartre (a hill and district in Paris). On the table in the foreground sits a 16-year old model in a striped dress. Her name is Estelle. Probably, her older sister, Jeanne Samary, stands behind her and is in conversation with the painter Franc Lamy. Renoir used Jeanne Samary more often as a model for his paintings, such as in The Swing which is also in the Musée d’Orsay. The man on the right side of the other side of the table is George Rivière, the biographer of Renoir, and the man smoking a pipe on the left is the printmaker Norbert Goeneutte. People are dancing behind them under the acacia trees. The dancing women are mainly local people, and the men are mostly friends of Renoir. On the bottom left, a child is playing with her mother. This painting may be painted on a Sunday afternoon when the dance hall was open to families with children. On the top, we can identify some chandeliers that are hanging in the trees, as well as some lights on a pole on the right.
The effects of light: Renoir paid careful attention to the effect of the sunlight on the dancing people. It seems to be a sunny day, but the trees block part of the sunlight. We can see the brighter and darker areas in the painting by looking at the ground and the colors of the dresses of the woman. Look also at the man sitting with his back toward us in the right foreground. He has some light patches on his jacket and head. This is the result of the sunlight shining through the trees.
Backstory: This painting is also known as ‘Bal du Moulin de la Galette’ and ‘Au Moulin de la Galette.’ Moulin de la Galette was the name of a neighborhood dance hall located next to a windmill (moulin is French for windmill). Renoir also painted a smaller version of this painting which is in a private collection. In that version, he leaves out more details. This painting was sold in 1990 for $78.1 million, which is still a record for a Renoir painting. It is uncertain which of the two versions has been painted first. The current version is in the Musée d’Orsay since 1986 when it was transferred from the Louvre. Renoir used loose brush strokes to paint this work, and the painting lacks quite some detail. On the Impressionist exhibition where this painting was first shown to the public, some people were confused and thought that Renoir did not finish his painting yet. However, Renoir left out many details on purpose as he understood that the human eye could fill in the details when looking at the painting. This allowed him to focus on the effects of light and movement, and create a bright and happy painting of the public dance.
Open-air dance halls? The Moulin de la Galette was an open-air dance hall in Paris in the 1870s. Open-air dance halls were very popular in 19th-century France and were a great source of entertainment for the people. Most people went there not to dance, but just to watch the dancers and enjoy the relaxed atmosphere. Renoir is the only Impressionist artist to depict this theme in his paintings. Renoir attended most of the events at the Moulin de la Galette, sometimes accompanied by other artists like Degas, and liked to dance there as well. To watch the dancers at the Moulin de la Galette, you had to pay a quarter French franc. The Moulin de la Galette first opened around 1833
Who is Renoir? Pierre-Auguste Renoir (1841-1919) is a French painter from Limoges in the middle of France. When Pierre-Auguste was three years old, his family moved to Paris where they lived close to the Louvre. It was a dream of him to have his work on display in the Louvre and in the last year of his life, he visited the Louvre where he could see his own work hanging among the masterpieces that he admired as a child. He is one of the founders of Impressionism, together with artists like Cézanne, Degas, Manet, and Monet. The Impressionists focused on the effects of light and often painted outside. Renoir’s opinion about art was that it should be pretty and he mostly painted very happy scenes. Two good examples are The Apple Seller in the Cleveland Museum of Art and A Girl with a Watering Can in the National Gallery of Art.
Fun fact: Renoir paints an open-air dance in Montmartre, a neighborhood in Paris that was popular among artists in the second half of the 19th century. It was the home to artists like Degas, Manet, Monet, Picasso, and Van Gogh. Renoir lived there as well and rented a studio close to the dance hall depicted in this painting. He brought the canvas from his studio to the dance hall to paint the dance. Many people that he knew participated in the dance. The story goes that, on some days, when it was windy, some of his friends there had to help him to keep the canvas straight while he was painting.
Interested in a copy for yourself? Poster or canvas.
Where? The marble version is in Room 548 of the Metropolitan Museum of Art. A bronze version is in the Allée centrale de sculptures (central sculpture hall) on the ground floor of the Musée d’Orsay. A plaster version is in Room 14 of the Petit Palais.
When? The plaster version between 1858 and 1861, the bronze version in 1862, and the marble version between 1865 and 1867.
Commissioned by? The owner of the Saint-Béat quarry
What do you see? Ugolino is sentenced to starve to death together with his children. This sculpture shows the moment that Ugolino considers cannibalism. He is depicted together with his four children, all naked, but is ignoring his children in this sculpture. He looks desperately in the distance and is biting his fingers and pulls his lip down with them. He holds his head in the palm of his hand. He is contemplating the consequences of his sins. He is sculpted as a muscular man even though he is starving to death. He is bending forward and has his feet on top of each other. The four children are in different states of suffering, and they beg their father to eat them such that he can stay alive. The oldest boy seems most energetic. He has his fingers in the flesh of Ugolino’s leg to emphasize his begging. The second oldest son on the right is also holding his father with both hands. The second youngest son on the left sits on top of his oldest brother and has already lost most of his remaining energy. He has his left arm on his father’s leg. The youngest son is on the bottom right and while he is the only one with a peaceful expression he appears already dead. Carpeaux is telling a story with this sculpture, something that is very difficult to do with a sculpture. He was able to sculpt the skin, muscles, and veins very realistically and to express the strong emotions of the different subjects. The more you look at the details of this marble statue, the more alive the subjects become. For example, you can see Ugolino’s agony by the curve in his spine, and even the toes of Ugolino are curled to show his agony.
Different versions of this statue: Several sculptures of Ugolino and His Sons have been made. Carpeaux got the idea of creating a sculpture of Ugolino and his sons in 1858. He started by making a plaster version of it, which he completed in 1861. This version is in the Petit Palais in Paris. After that, in 1862, he created a bronze version which is now in the Musée d’Orsay. The final version he created was the marble version in the Metropolitan Museum of Art. Rodin was inspired by the sculptures of Carpeaux and, in 1881, he made a plaster version of Ugolino and His Children which is in the Musée Rodin in Paris.
Backstory: This work is created under the supervision of Carpeaux and is based on canto 33 of Dante’s Inferno (which is the first part of the Divine Comedy). In this book, Dante travels through the nine circles of hell. Each circle contains people who are convicted in hell for a different sin. In the ninth circle, he meets Count Ugolino della Gherardesca (c. 1220-1289), who was convicted for treachery. In 1288, Ugolino worked together with the archbishop Ruggiero to take control of the factions in Pisa. However, in this process, Ruggieri betrayed him and locked Ugolino up in prison. More precisely, Ugolino was imprisoned together with his children and grandchildren in a tower and condemned to starve to death. His children begged Ugolino to eat them to survive, and his hunger was stronger than his sadness about his dying children. It is unclear whether Ugolino ate his children in the end. In Dante’s story, Ugolino’s eternal punishment in hell is that he is stuck up to his head in the icy waste of Antenora which is the punishment for political traitors. Meanwhile, he is chewing the head of Ruggieri (the person who betrayed him in real life) who is also stuck in the ice.
Who is Carpeaux? Jean-Baptiste Carpeaux (1827-1875) was born in Valenciennes in France and died in Paris. In 1854 he moved to Rome, where he got inspired by the Renaissance artists such as Donatello, Michelangelo, and Verrocchio. He suffered a lot during his life, both mentally and physically, and you can see that back in some of his extreme works. His sculptures are known for the emotions they evoked among the viewers, and he distinguished himself with his style from his contemporary colleagues. He is considered one of the greatest sculptors of his time, though most people consider Antonio Canova (who was born before him) and Auguste Rodin (who was born after him) to be even better.
Fun fact: The sculpture in the Metropolitan Museum of Art is placed very close to the entrance of the Petrie Court Café. It is ironic that this sculpture with the theme of starvation is so close to the Café. While this may be a coincidence in itself, another statue that deals with starvation is also close to the Café. Rodin’s bronze The Burghers of Calais sculpture shows six leaders of the city of Calais who are starving and have a rope around their neck as they will be executed soon. The marble statue of Carpeaux is also next to the statue of Perseus with the Head of Medusa by Antonio Canova.