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The Millinery Shop
The Millinery Shop
Date:
1879/86
Artist:
Edgar Degas French, 1834-1917
Almost this artwork
Of at least 15 pastels, drawings, and paintings that Edgar Degas created on this discipline during the 1880s, The Millinery Shop is the largest and perhaps the most aggressive. Equally a result of its unusual cropping and tilted perspective, it seems to capture an unedited glimpse of the interior of a small-scale nineteenth-century millinery shop. The identity of the young woman in the painting remains unclear: she may exist a shop girl or a customer. In an early on version of the composition, the adult female is conspicuously intended to be a customer; she wears a stylish dress, though her hat—a prerequisite token of bourgeois culture—is absent. In the last painting, notwithstanding, the woman appears with her oral cavity pursed, equally if around a pivot, and her hands gloved, maybe to protect the frail fabric of the hat she holds. Degas seems to accept deliberately left her role equally a creator or consumer ambiguous. She is totally captivated in her activeness and, like most of the women in Degas'due south paintings, seems unaware of being watched. The bonnets that are displayed on the table side by side to her like a however life nowadays an analogy to the artist's creative process: where they are unfinished, so besides is the painting.
Status
On View, Gallery 226
Department
Painting and Sculpture of Europe
Artist
Hilaire Germain Edgar Degas
Title
The Millinery Shop
Place
France (Object made in)
Engagement
1879–1886
Medium
Oil on canvas
Dimensions
100 × 110.7 cm (39 3/8 × 43 9/xvi in. )
Credit Line
Mr. and Mrs. Lewis Larned Coburn Memorial Collection
Reference Number
1933.428
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Daniel Catton Rich, "Bequest of Mrs. 50. Fifty. Coburn," The Art Institute of Chicago Message 26, 5 (1932), p. 69 (ill.).
The Fine Arts 19 (June 1932), p. 23 (ill.).
Eleanor Jewett, "Noted Private Fine art Collection on Exhibition: Antiquarians Sponsor Institute Show," Chicago Tribune (April half dozen, 1932).
Smith College Museum of Art Bulletin 15 (June 1934), p. fifteen (sick.).
Agnes Mongan, "Degas As Seen in American Collections," Burlington Mag 72 (1938), pp. 297 (sick.), 302.
George Slocombe, "Creative person as Misanthrope," Coronet 3, six (April 1938), p. 22 (sick.).
R. Shoolman and C. Eastward. Slatkin, The Enjoyment of Art in America (Philadelphia, 1942), pl. 543.
An Illustrated Guide to the Collections of The Fine art Institute of Chicago (Chicago, 1945), pp. 36 (ill.), 37.
Hans Huth, "Impressionism Comes to America," Gazette des Beaux-Arts ser. 6, vol. 29 (1946), pp. 234, fig. 8.
Paul Andre Lemoisne, Degas et son oeuvre vol. 3 (Paris, 1946), cat. 832 (ill.).
F. Fels, L'Art Vivant de 1900 a Nos Jours (Geneva, 1950), p. 98 (sick.).
Daniel Catton Rich, "Midwest Art Majuscule," Town and Country (March 1951), p. 75 (ill.).
The Art Institute of Chicago, A Brief Guide to the Collections (Chicago, 1956), pp. 34 (ill.), 35.
Pierre Cabanne, Degas (Paris, 1958), p. 111 (sick.).
The Art Constitute of Chicago, Paintings in the Art Institute of Chicago: Catalogue of the Moving-picture show Collection (Chicago, 1961), pp. 121, 336 (ill.).
Frederick A. Sweet, "Swell Chicago Collectors," Apollo 84 (September 1966), p. 203, fig. 33.
William Gaunt, Impressionism: A Visual History (New York, 1970), pp. 244, 245, pl. 95.
John Maxon, The Art Institute of Chicago (New York, 1970), pp. 89 (ill.), 90, 280.
Franco Russoli and Fiorella Minervino, Fifty'opera completa di Degas (Milan, 1970), no. 635 (ill.).
Caron LeBrun Danikian, "Degas Story Told in MFA Exhibition," The Christian Science Monitor (July 2, 1974), p. 4C, ill.
Hilton Kramer, "Edgar Degas, the Reluctant Modernist, at a New Exhibition in Lonodn," The New York Times (July 7, 1974), p. xix (ill.).
The Art Institute of Chicago, 100 Masterpieces (Chicago, 1978), no. 63 (ill.).
Diane Kelder, The Peachy Book of French Impressionism (New York, 1980), p. 312 (ill.).
Manet, 1832-1883 exh. cat. (Paris, Galeries nationales du One thousand Palais/New York, Metropolitan Museum of Art, 1983), under cat. 213, fig. a.
Richard Brettell, French Impressionists (Chicago, 1987), p. 63 (ill.).
Eunice Lipton, Looking Into Degas Uneasy Images of Women and Modern Life (Berkeley, 1987), pp. 153-4 (ill.).
Horst Keller, Edgar Degas (Munich, 1988), pp. 81, 90 (sick.).
Anne Roquebert, Degas (Paris, 1988), p. 176, no 42 (ill.).
James N. Wood and Katharine C. Lee, Primary Paintings in The Art Institute of Chicago (Chicago, 1988), p. sixty (ill.).
Edward Lucie-Smith, Impressionist Women (London, 1989), pp. 98, 100, 101, pl. 88.
Howard Hodgkin, "A Great Artist's Communication: Do Not Miss This Degas," The Independent (May 22, 1996), p. 10.
Christopher Riopelle, "Edgar Degas: Illustrious and Unknown," in Art in the Making: Degas, exh. cat. (London, National Gallery, 2004), pp. 15, xvi (ill.).
The Age of Impressionism at the Art Constitute of Chicago (New Haven and London, 2008), cat. 41, pp. 92-93 (sick.).
Simon Kelly and Esther Bell, Degas, Impressionism, and the Paris Millinery Merchandise, exh. true cat. (Fine Arts Museums of San Francisco/ Legion of Honor/ Delmonico Books/ Prestel, 2017), book cover, pp. 104-105, cat. ane (ill).
The Art Constitute of Chicago, Mrs. Fifty.L. Coburn Drove: Modern Paintings and Water Colors, Apr 6, 1932-October 9, 1932, true cat. 9 (ill.).
The Fine art Institute of Chicago, A Century of Progress Exhibition of Paintings and Sculpture, June 1-November 1, 1933, cat. 286, pl. 53.
Northampton, Mass., Smith Higher Museum of Art, Edgar Degas, November 28-Deceber 18, 1933, cat. eight (ill.).
The Art Institute of Chicago, A Century of Progress Exhibition of Paintings and Sculpture, June 1-November 1, 1934, cat. 202.
Toledo, Ohio, Museum of Art, French Impressionists and Post-Impressionists, November 1934, cat. 1.
Springfield, Mass., Museum of Art, French Painting, Cézanne to the Present, December 1935-January 1936, cat. ane.
Philadelphia Museum of Art, Degas, November-Dec 1936, cat. 40 (ill.).
Worcester, Mass., Worcester Fine art Museum, The Art of The 3rd Republic, February-March 1941, cat. 4 (ill. on cover).
Cleveland Museum of Art, The Works of Edgar Degas, Feb 5-March 9, 1947, cat. 38 (ill.).
Philadelphia Museum of Art, Diamond Jubilee Exhibition: Masterpieces of Painting, Nov 4, 1950-Feb 11, 1951, cat. 74 (ill.).
Boston Museum of Fine Arts, Edgar Degas: The Reluctant Impressionist, June 21-September 1, 1974, cat. 20 (ill.).
Richmond, Va., The Virginia Museum, Degas, May 23-July 9, 1978, cat. 14 (ill.).
Albi, Musée Toulouse-Lautrec, Trésors impressionistes du Musée de Chicago, June 27-August 31, 1980, cat. 8 (ill.).
The Art Found of Chicago, Degas in The Art Found of Chicago, July nineteen-September 23, 1984, cat. 63 (ill.).
Paris, Galeries nationales du 1000 Palais, Degas, February ix-May 16, 1988, cat. 235 (ill.); Ottawa, National Gallery of Canada, June 16-Baronial 28, 1988; New York, The Metropolitan Museum of Art, September 27, 1988-January 8, 1989.
London, National Gallery, Degas: Across Impressionism, May 22-August 26, 1995, cat. 4 (ill.)., traveled to The Art Institute of Chicago, September 28, 1996-Jan five, 1997.
Kansas City, The Nelson-Atkins Museum of Art, Invited Work: Edgar Degas, The Millinery Shop, July 22- Nov 26, 1995, no cat.
London, The National Gallery and The Art Establish of Chicago, Degas: Beyond Impressionism, 1996-1997, true cat. 4.
New York, Metropolitan Museum of Art, The Private Collection of Edgar Degas, October i, 1997-January xi, 1998, no cat. no (fig. 96).
Atlanta, Loftier Museum of Fine art, Degas and America: The Early Collectors, cat. 54 (ill.), traveled to The Minneapolis Plant of Arts, June 16-September ix, 2001, shown in Minneapolis simply.
Washington, DC, The Phillips Drove, Impressionist and Post-Impressionist Still-Life Painting, September 22, 2001-Jan 13, 2002, no cat. no (pl. threescore), traveled to Boston, Museum of Fine Arts, February 17-June 9, 2002.
Fort Worth, Tex., Kimbell Museum of Art, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–November 2, 2008, cat. 41 (ill.).
St. Louis, Missouri, Saint Louis Art Museum, Degas, Impressionism, and the Paris Millinery Trade, Feb 12 - May 7, 2017, cat. 1; San Francisco, Legion of Laurels, June 24 - September 25, 2017.
Sold by the artist to Paul Durand-Ruel, Paris on February 22, 1913 for 50,000 francs [run into Durand-Ruel stock no. 10253; this and the following information according to Paris 1988]; sent to Durand-Ruel Gallery in New York, 1917; sold to Mrs. Lewis Larned (Annie Swan) Coburn (died 1932), Chicago on Jan 19, 1932 for $36,000 or $35,000 [see Durand-Ruel stock no. 4114; the date 1932 given in the Durand-Ruel stockbook contradicts a loan receipt, dated January 23, 1930, for a "Millinery Shop, 1882" from Mrs. L.L. Coburn to the Art Institute of Chicago, re-create in curatorial file]; ancestral to the Art Found of Chicago, 1933.
Object information is a piece of work in progress and may be updated as new research findings emerge. To assist improve this record, please electronic mail . Information about image downloads and licensing is available here.
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