“Manet/Degas”: the poster trumpets, certainly.
For a bit, she would entice the fade of the gondola heads.
And then the Musée d'Orsay took care to illustrate it with female figures, alternately a portrait of Berthe Morisot, by Manet, and the
Young Woman with ibis
by Degas.
We are rightly salivating.
We know, however, these major exhibitions posing "crossed views" on two distinct works are only a pretext to bring together crowds thirsty for "must-sees".
Manet-Degas, therefore.
We could have found other duos, other tandems, other couples in the Paris of the time, at the peak of yet another apogee.
Manet and Berthe Morisot, precisely.
Or Monet and Renoir, united in the happiness of painting under the sun.
Or again Courbet and Whistler, not without gallant friction this time, and the American's bitter conclusion about the French master:
“
His influence has been disgusting.
Whether or not they are marked by a relationship of domination, these
…
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