Le Repos
Artist
Edgar Degas
French, 1834–1917
Datecirca 1893
MediumPastel on board
Dimensions19 1/4 x 25 1/2 in. (48.9 x 64.8 cm)
Frame: 31 3/4 x 37 x 2 3/4 in. (80.6 x 94 x 7 cm)
Frame: 31 3/4 x 37 x 2 3/4 in. (80.6 x 94 x 7 cm)
ClassificationsDrawings
Credit LinePurchased with funds from the North Carolina State Art Society (Robert F. Phifer Bequest)
Object numberG.67.40.1
On View
Not on view[1] Lender of the painting to the Armory Show, New York, no. 1014.
[2] N.B. The previous references, including Knoedler, have not been confirmed.
[3] Lender to Impressionist and Post Impressionist Paintings, Metropolitan Museum of Art, May 3–Sept. 15, 1921. A New York Times article December 1, 1916, reported a reorganization of the Tennessee Copper Company with Adoph Lewisohn President and San Lewisohn Vice President. The article further notes, “According to Mr. Westlake, control of the Tennessee Copper Company has passed to the Lewisohn and Bache interests…” Aline B. Lochheim “Sam Lewisohn and his Legacy to Art,” NYTimes, March 25, 1951, notes that Adoph began collecting in 1885, mostly Barbizon School but also Monets and Renoi’s Young Girls at the Piano [MMA]. The article also mentions that Sam bought a Monticelli at the Armory Show.
[4] The New York Times March 18, 1951 obituary for Sam Lewisohn identifies him as “industrialist, philanthropist and patron of music and art.” Lewisohn, who was a trustee of both the Metropolitan Museum and the Museum of Modern Art, bequeathed 184 works of art to the Metropolitan Museum, including El Greco, Cezanne, Gaugin, Van Gogh, Glackens, Maillol, etc. He also made bequests to Princeton University, The Museum of Modern Art, the Brooklyn Institute of Arts and Sciences, and the National Gallery of Art.
[5] The obituary (New York Times June 15, 1954) for Margaret S[eligman]. Lewisohn, widow of Sam Lewisohn, lists among her heirs Mrs. Sidney Simon of New City, New York. Mrs. Lewisohn was killed in an automobile accident returning with Adlai Stevenson from Vassar College, where the 1952 presidential candidate had delivered the commencement address.
Published ReferencesS. Bourgeois, The Adolph Lewisohn Collection of Modern French Paintings and Sculpture (1928), 105, illus.
Degas: 1834-1917 (exhibition catalogue) (Philadelphia: Pennsylvania Museum of Art, 1936), cat. no. 50.
Henry McBride, "Lewisohn: Private to Public," Art News 50 (November 1951), 25, illus.
Daniel Catton Rich, Edgar-Hilaire-Germaine Degas (New York: Harry N. Abrams, 1951), 120, illus. unnumbered page.
The Lewisohn Collection (exhibition catalogue) (New York: Metropolitan Museum of Art, 1951), cat. no. 122, illus. 35.
Forbes Watson, The Art, Jl., 105, illus.
Milton W. Brown, The Story of the Armory Show (New York, 1963).
Ben F. Williams, "A Raleigh, Caroline du Nord," L'Oeil (November 1967), illus. (color) 8.
Gazette des Beaux-Arts (La Chronique des Arts) no. 1189 (February 1968), 84, illus.
The Art Quarterly 31, no. 2 (Summer 1968), 208, illus. 224.
Gazette des Beaux-Arts no. 1190 (March 1968), 4.
North Carolina Museum of Art Bulletin 9, nos. 1 and 2 (December 1969), mentioned 3, listed 55, illus. (b-w) 58.
Exhibition Number One from the Permanent Collection (Raleigh: North Carolina Museum of Art, 1970), 104, illus. (color) 105.
Franco Russoli and Fiorella Minervino, L'opera completa di Degas (Milan: Rizzoli, 1970), illus. fig. 1011.
Robert F. Phifer Collection (exhibition catalogue) (Raleigh: North Carolina Museum of Art, 1973), 26, illus. (b-w) 27.
P. A. Lemoisne, Degas et son Oeuvre, vol. 3 (Paris: Arts et Métiers Graphiques, 1984), no. 1141, illus. 661.
Society for the Study of Japonisme, Report No. 16 (1996), illus. (b-w) 34, fig. 8.
Rebecca A. Rabinow, "Modern art comes to the Metropolitan: The 1921 exhibition of 'Impressionist and Post-Impressionist Paintings'," Apollo 152, no. 464 (October 2000), 10.
"Renovated European Galleries," in North Carolina Museum of Art supplement to the Durham Herald-Sun (October 2002), mentioned 3.
Jill DeVonyar and Richard Kendall, Degas and the Art of Japan (exhibition catalogue) (New Haven and London: Yale University Press, 2007), discussed 70, illus. (color) 71, pl. 65 (catalogue only, not in exhibition).
Roberta J. M. Olson, “Drawings at the Armory: The Currency of Change and Modernism,” in The Armory Show at 100: Modernism and Revolution, Marilyn Satin Kushner and Kimberly Orcutt, eds. (New York: New-York Historical Society, in association with D. Giles Limited, London, 2013), mentioned 303, illus. (color) 302, fig. 235.
Henri Loyrette, Degas: A New Vision (exhibition catalogue) (Victoria, Australia: The Council of Trustees of the National Gallery of Victoria, 2016), illus. (color) 156.
Exhibition HistoryNew York, NY, The Armory Show, 1913.
Cambridge, MA, Fogg Art Museum, April, 1919.
New York, NY, Metropolitan Museum of Art, "Impressionist and Post Impressionist Paintings," no. 34.
New York, NY, Union League Club, April, 1924.
New York, NY, Reinhart Gallery, 1934.
Philadelphia, PA, Pennsylvania Museum of Art, "Degas: 1834-1917," 1936, cat. no. 50.
Paris, Musée de l'Orangerie, 1937, cat. no. 152.
New York, NY, Metropolitan Museum of Art, "The Lewisohn Collection," November, 1951, cat. no. 122, illus. 35.
Raleigh, NC, North Carolina Museum of Art, "Exhibition Number One from the Permanent Collection," October 1970, 104, illus. (color) 105.
Raleigh, NC, North Carolina Museum of Art, "Robert F. Phifer Collection," March 31-May 13, 1973, 26, illus. (b-w) 27.
Richmond, VA, Virginia Museum of Fine Arts, May 23-July 9, 1978, no. 28.
Charlotte, NC, Charlotte Campaign Fund Benefit, November 30, 1978.
Reading, PA, Reading Public Museum, "Degas and the Art of Japan," September 9-December 30, 2007, no. 40, illus. (color) 71, pl. 65.
Houston, TX, Museum of Fine Arts, “Degas: A New Vision,” October 16, 2016–January 8, 2017, illus. (color) 156.
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Arthur Bowen Davies
