  About the Artwork
  
  
  Given Manet's reputation as a radical modern artist, it is fitting that he served as the subject for this etching that marks a significant shift in Degas's printmaking development. Previously, Degas had used more conservative pictorial devices to compose approximately sixteen prints. In this portrait, details such as the candid pose, the casually dropped hat, and the stark background of stretched canvases are indications that Degas had grasped concepts of style considered to be on the cutting edge of artistic composition. 
By depicting Manet in the informal pose of an unassuming studio visitor, Degas was demonstrating his allegiance to the avant-garde Parisian artist. This print is a rare second state impression. It remained among Degas's possessions until the 1918 sale of his studio's contents.
  
  
  Title
  Manet Seated, Turned to the Right
  
  
  Artwork Date
  1864 or 1865
  
  Artist
  Edgar Degas
  
  
  
  Life Dates
  1834-1917
  
  
  
  
  Nationality
  
  
  
  Please note:
  Definitions for nationality may vary significantly, depending on chronology and world events.
  Some definitions include:
  Belonging to a people having a common origin based on a geography and/or descent and/or tradition and/or culture and/or religion and/or language, or sharing membership in a legally defined nation.
  
  
  
  French
  
  
  
  Culture
  
  
  
  Please note:
  Cultures may be defined by the language, customs, religious beliefs, social norms, and material traits of a group.
  
  
  
  
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  Medium
  Etching and drypoint printed in black ink on wove paper
  
  
  Dimensions
  Plate: 7 5/8 × 5 inches (19.4 × 12.7 cm)
  Sheet: 12 1/4 × 8 7/8 inches (31.1 × 22.5 cm)
  
  
  Classification
  Prints
  
  
  Department
  Prints, Drawings &amp; Photographs
  
  
  Credit
  Founders Society Purchase, General Membership Fund
  
  
  
  Accession Number
  
  
  
  This unique number is assigned to an individual artwork as part of the cataloguing process at the time of entry into the permanent collection.
  Most frequently, accession numbers begin with the year in which the artwork entered the museum’s holdings.
  For example, 2008.3 refers to the year of acquisition and notes that it was the 3rd of that year. The DIA has a few additional systems—no longer assigned—that identify specific donors or museum patronage groups.
  
  
  
  49.338
  
  
  Copyright
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