From: de Young Museum Limited Edition: 10 Exhibition: Birth of Impressionism: Masterpieces from the Musée d’Orsay Material: Printed 2-ply vinyl Dimensions: 35" x 72" (88cm x 182cm)
Hanging Hardware Included
This banner features a Manet masterpiece that is at the center of a Hogan’s Heroes episode, Art for Hogan’s Sake. In a hair-brained plan to present Hermann Goering with a birthday gift, Colonel Klink is entrusted with Édouard Manet’s painting, The Fifer. Hogan devises a plan to return the painting to the Louvre while replacing the original with a forgery. Hilarity ensues as Col Hogan, Cpl LeBeau, and Sergeant Schultz travel to Paris to commission the forgery, where a drunken Schultz uncharacteristically saves the day. Today, fortunately the painting remains in the permanent collection of the Musée d’Orsay, which purchased the painting from the Louvre in 1986.
This exhibition represented a unique opportunity for museum visitors to see some of the most important works of Impressionism normally only available in Paris. Close to 100 paintings borrowed from the Musée d’Orsay’s permanent collection comprised the exhibition, Birth of Impressionism: Masterpieces from the Musée d’Orsay Many avant-garde Impressionists of the mid- to late 19th century were featured, including the works of William-Adolphe Bouguereau, Gustave Courbet, Edgar Degas, Édouard Manet, Claude Monet, Pierre-Auguste Renoir, Alfred Sisley, and James Abbott McNeill Whistler.
Impressionism was born in France during the turbulent time of the Franco-Prussian War (1870) marking the end of the French Second Empire and Napoleon III. Artistically and socially, times were complicated too. Artistic rivalries developed between those selected to exhibit at the state-run Salon de Paris, which followed the prescribed standards of the Académie des Beaux-Arts, and those core Impressionists who often weren’t accepted by the Salon’s jury. Impressionism extended through the Belle Époque, a period of political stability between the end of the Franco-Prussian war and the beginning of World War I. The ‘beautiful era’ was characterized by optimism and advancements in technology and medicine.
The de Young Museum promoted the exhibition with three street banners featuring paintings by Claude Monet, Édouard Manet, and Edgar Degas. The Fifer appears on the front side of the banner; it was painted by Manet in 1866 after a trip to Spain the year before. Manet was inspired by Spanish artist Diego Velázquez and his influence is seen clearly in The Fifer, which was rejected by the Salon de Paris. As was typical of the work of Velázquez, Manet painted a large single figure with shallow depth, hardly differentiating the horizontal and vertical planes. The subject in the painting bears some resemblance to Leon Leenhoff, the son of Suzanne Leenhoff who was Manet’s piano teacher and later became his wife. Leon was born out of wedlock in 1852; it was thought that either Manet or his father, Auguste, could have fathered the child.