Conversation: Ludovic Halévy and Madame Cardinal (The Conversation) for "La Famille Cardinal" by Ludovic Halévy, previewed as a 16 by 20 inch giclée reproduction.

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Edgar Degas

French, 1834–1917

Conversation: Ludovic Halévy and Madame Cardinal (The Conversation) for "La Famille Cardinal" by Ludovic Halévyc. 1880–83

monotype

Platemark: 21.3 x 16 cm (8 3/8 x 6 5/16 in.); Sheet: 25.5 x 17.8 cm (10 1/16 x 7 in.)

Courtesy of the Cleveland Museum of Art · 1967.167

This print comes from a series of more than 30 monotypes that Degas planned as illustrations for La Famille Cardinal by the artist’s friend Ludovic Halévy. More about this work

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Format

Archival pigment inks on Hahnemühle Photo Rag, a 308 gsm cotton paper, with a white border.

Size

At this size the museum's file prints at 193 ppi: sharp at arm's length, a little softer than the smaller sizes up close.

Size
16 × 20 in · image 13¼ × 17½
Paper
Hahnemühle Photo Rag, 308 gsm
Price
$56

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About this work

This print comes from a series of more than 30 monotypes that Degas planned as illustrations for La Famille Cardinal by the artist’s friend Ludovic Halévy. The satirical stories revolve around two young dancers at the Opéra, Pauline and Virginie Cardinal, and their procuress mother. In late 19th-century Paris, the ballet was the profession of lower-class girls and young women who were available for sexual hire. Here, in the opening scene, Halévy, the first-person narrator, meets with Madame Cardinal in the coulisses (wings) of the Opéra to arrange for a private rendezvous with one of her daughters. The dancers, whose sexual availability is the subtext of the composition, are conspicuously absent.

Text from the Cleveland Museum of Art.

Edgar Degas

French, 1834–1917 · Born and died in Paris.

Degas trained in the academic tradition, admired Ingres and spent three years in Italy copying earlier art, but turned to modern Paris for his subjects: dancers, racecourses, laundresses, milliners and café singers. He helped organise the Impressionist exhibitions and showed in all but one, yet preferred to call himself a realist. Working from drawing and memory rather than outdoors, he composed with unexpected cropping and viewpoints, and in later years worked mostly in pastel as his eyesight failed.

Written by Ochre Editions.

See all 15 works by Edgar Degas

Impressionism

Painters in 1870s Paris who worked quickly, often outdoors, to catch light as it changed.

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Rights and the museum’s record

Public domain. The Cleveland Museum of Art has dedicated this image to the public domain under CC0, so anyone may copy, adapt and use it, for any purpose, without asking. Our prints and files are reproductions made from the museum’s image; the museum doesn’t endorse them.

Object number
1967.167
Credit
Courtesy of the Cleveland Museum of Art
Type
Print
Department
Prints
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