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192:, he relocated in 1810 to New Orleans where he established himself as a cotton exporter. Musson married Marie Céleste Désirée Rillieux who was from a prominent Creole family. They had five New Orleans-born children including Degas's mother, Marie-Célestine Musson, and Michel Musson. After his wife died in 1819, Germain Musson moved his family to
207:. Degas lived with his uncle; René, Estelle and their family; Michel Musson's other two daughters (one of whom was married to businessman William Bell) and their families. He spent much time painting these family members, especially Estelle. However, Degas expressed dissatisfaction with this work in letters to his friends
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Initially intending to leave New
Orleans around New Year's, Edgar Degas remained in the city until around March of 1873. Before his departure, Degas found a new subject to paint and wrote to Tissot, "After having wasted time in the family trying to do portraits in the worst conditions of the day that
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to the other works of Degas and other artists in the exhibition for its relatively finished quality. Critic Arthur
Baigneres wrote, "One of the most reasonable of all pictures, which represents cotton merchants of New Orleans, gives us faces well-modeled and drawn with care… If one judged M. Degas
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features a white cloth, a finished textile product. Degas personally collected various fabrics. He also painted textiles throughout his career ranging from the ballet outfits to the clothes seen in renderings of laundresses. It is likely that some of the fabrics in these depiction were manufactured
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Several of Degas's relatives are depicted engaged in a range of activities. Musson is seated in the foreground and is examining cotton for its quality. His legs are cropped by the lower frame and the top of his hat is surrounded by cotton. To his left is an empty chair where raw cotton rests. René
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At the same time, Degas's family experienced a series of financial setbacks. Auguste Degas died in 1874 and left considerable outstanding debts. René and
Achille Degas had also suffered losses that Edgar and the rest of the family took on. There was now a greater need for Edgar to make money from
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Edgar Degas made his first and only trip to the United States and the birthplace of his mother in the fall of 1872 at the behest of his brother René. René at the time was running a cotton brokerage in New
Orleans with their other brother Achille. René had married his first cousin Estelle Musson,
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worked in the cotton trade close by. Degas would spend some time each day in his brothers' office receiving and responding to mail, reading newspapers, and overhearing his brothers' and their associates' commercial conversations. Degas would write to Tissot that, in New
Orleans, "One speaks of
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Art historian
Marilyn Brown points out that even though the production of cotton is not shown in the painting, "Degas's Cotton Office ultimately represses, disavows, and dematerializes the oppression of black labor by transforming its white product into a commodity sold by anxious white men."
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offered a "remarkably painted" interior space and that the work "will not disappoint those who love accurate, frankly modern painting, and who think that the expression of ordinary life and execution ought to count." However, not all the reviews praised the painting. Novelist
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In the middle of the painting is a "sea of cotton" covering a table. A small tuft has fallen off, resting by
William Bell's foot. The shelves in the back of the office hold stacks of brown paper-wrapped cotton bale samples. In the top right, there is a picture of a
286:. In 1873, Musson was briefly a supporter of the Louisiana Unification Movement, which sought interracial cooperation and public integration. However, he, René Degas, William Bell, and Bell's associate Frederick Nash Ogden, became members and leaders of the
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Achille Degas leans against an open window to the far left. William Bell stands next to the long table in the middle, cotton in his hands as he encourages a customer to sample it himself. Other figures include Musson's business partners and associates,
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shares similarities with Degas's paintings of ballet rehearsals. The floor in the office is sloped in a way that resembles Degas's depictions of dance floors. The men are gathered in casual yet controlled groupings while some have assumed
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Both paintings feature a table covered in amorphous cotton, similarly dressed men wearing formal attire, a picture within a picture of a steamship, and a contrast of the men's black attire with the white cotton. However, Degas describes
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and its resulting economic depression had an adverse effect on the global cotton trade and the art market in both
England and France. The Manchester art collector sold his entire collection of works in April of 1873. In addition,
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daughter of Michel Musson. Before he left for New
Orleans, Edgar was at an artistic crossroads. He was still uncertain about focusing his painting on contemporary subjects and had not yet found much success selling his art.
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groups during
Reconstruction. Germain and Michel Musson both owned slaves. Edgar Degas's mother had her dowry increased by her father's sale of a young slave girl. Michel Musson, Auguste and René Degas invested in
196:. He relocated back to New Orleans after the 1832 marriage of his daughter Marie-CĂ©lestine to Auguste Degas. When Edgar was born, Auguste arranged the purchase of a New Orleans cottage in his son's name.
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is suggested through the men's finished clothing along with the various papers scattered around the office. The picture of the steamship evokes the transit of cotton across the Atlantic.
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120:. Musson, Degas's brothers René and Achille, Musson's son-in-law William Bell, and other associates of Musson are shown engaged in various business and leisure activities while raw
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only on the basis of this picture, one would be truly amazed to see him in such company." Similarly, Alfred de Lostalt published in his review of the 1876 exhibition that
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halfway between a seascape and a plate from an illustrated journal. He has excellent artistic perspectives, but I am afraid his brush will never really be creative."
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strategy. New Orleans stood at the heart of the cotton and slave trades as both the United States' most important cotton port and its largest slave market. Despite
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Degas created the painting in the early part of 1873 during an extended visit with family in New Orleans. His trip coincided with the political turbulence of
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Art historian Michelle Foa notes that the painting alludes to the life cycle of cotton. Cotton is represented in its raw form and its transformation into
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where it received mixed reviews by the local critics. After the exhibition, a five-member committee appointed by the mayor of Pau decided to purchase
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and a depiction of 19th century capitalism. Degas paints the interior of Michel Musson's cotton factoring firm, Musson, Prestidge, and Company on
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as "less complicated and more spontaneous, of a better art, where people are in summer dress, white walls, a sea of cotton of the tables."
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was singled out more than other exhibited works for critical comment and received mostly positive reviews. Some critics favored
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The art society in Pau, France, held local art exhibitions that in 1876 and 1877 showed works by prominent artists such as
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Members of the Musson and Degas families owned slaves, supported the Confederacy, and had ties to and participated in
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is also noted as more "impressionistic" with its handling of light and airier brushstrokes than the more realistic
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firm whose office was in close proximity to Achille and René's business. William Bell and his business partner
312:… What a lot of good this absence of Paris has done in any case, my dear friend, I have made the most of it."
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in 1865, newly freed black farmers were still the main labor force in cotton production and were subjected to
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Foa, Michelle (2 July 2020). "In Transit: Edgar Degas and the Matter of Cotton, between New World and Old".
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Brown, Marilyn R. (2018). "Degas's New Orleanian Spaces". In Toulouse, Teresa A.; Ewell, Barbara C. (eds.).
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wrote that "as completes his work, his draftsmanship becomes blurred and pathetic. He paints pictures like
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151:. Degas was the only major French Impressionist to travel to the United States and paint US subjects.
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Degas in New Orleans: Encounters in the Creole World of Kate Chopin and George Washington Cable
592:"is also a good picture which has nothing to do with revolutionary methods." French art critic
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in 1876 at the Impressionists' second Paris exhibition. Other participating artists included
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During his stay in New Orleans, Edgar Degas resided in Michel Musson's rented mansion in the
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While it was earlier believed to have been painted on his return to France, Degas finished
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I have ever found or imagined, I have attached myself to a fairly vigorous picture…
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along with 23 other works including several of his laundress and ballet paintings.
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shared compositional similarities to some of Degas's ballet paintings including
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Degas painted another rendering of cotton buyers around the same time titled
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New Orleans. Germain Musson, Degas's maternal grandfather, was born of
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73 cm Ă— 92 cm (29 in Ă— 36 in)
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112:. Degas depicts the interior of his maternal uncle Michel Musson's
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403:. The office's interior windows resemble mirrors for working the
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as both works feature a visible empty chair. While the chair in
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440:. It is an oil sketch that has compositional similarities with
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Despite its notable critical popularity, Degas failed to sell
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Degas and the Business of Art: A Cotton Office in New Orleans
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in America and arranged for its travel across the Atlantic.
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and continued political persecution during Reconstruction.
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Southern US economy. It was also inextricably linked to
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was eventually sold in 1878 to the Municipal Museum in
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Interior of an Office of Cotton Buyers in New Orleans
1189:. University Press of Mississippi. pp. 87–108.
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The Dance Class at the Opera on the rue Le Peletier
235:The production and sale of cotton was vital to the
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528:in Manchester, England. Manchester was one of the
310:Interiors of a Cotton Buyers Office in New Orleans
135:in Paris. Degas hoped to sell the painting to a
415:Dance Class at the Opera on the rue Le Peletier
1338:Scene from the Steeplechase: The Fallen Jockey
231:Cotton, slavery, Civil War, and Reconstruction
124:rests on a table in the middle of the office.
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1187:Sweet Spots: In-Between Spaces in New Orleans
168:Edgar Degas stayed in this rented mansion on
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640:for Pau's local Museum at a price of 2,000
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413:exhibits a link to Degas's 1872 painting
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160:Family ties to New Orleans and visit
104:Portraits in an Office (New Orleans)
1417:Ballerina Posing for a Photographer
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1147:Benfey, Christopher E. G. (1997).
131:. Degas exhibited the work at the
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1449:Miss La La at the Cirque Fernando
176:Edgar Degas had familial ties to
1500:Café-Concert at Les Ambassadeurs
1251:Degas: His Life, Times, and Work
516:Exhibitions, reception, and sale
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386:Links to Degas's other paintings
272:oppressive sharecropping systems
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1591:Little Dancer of Fourteen Years
1457:Portraits at the Stock Exchange
1385:Ludovic Lepic and His Daughters
1354:At the Races in the Countryside
508:Cotton Merchants in New Orleans
504:A Cotton Office in New Orleans,
461:Cotton Merchants in New Orleans
442:A Cotton Office in New Orleans.
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421:holds raw cotton, the seat in
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1234:10.1080/00043079.2020.1711487
549:1876 Impressionist Exhibition
342:Degas sits close by, reading
290:and would participate in the
133:1876 Impressionist Exhibition
620:1878 Pau Exhibition and sale
241:slavery in the United States
172:with various family members.
1170:. College Art Association.
502:Compared to the meticulous
358:while they inspect cotton.
74:Musée des beaux-arts de Pau
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1370:The Orchestra at the Opera
188:. In the aftermath of the
1322:Young Spartans Exercising
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1675:Paintings by Edgar Degas
469:Cambridge, Massachusetts
268:plantation-slave complex
1330:The Collector of Prints
1166:Brown, Marilyn (1994).
530:world's largest centers
292:Battle of Liberty Place
16:Painting by Edgar Degas
1685:Culture of New Orleans
1249:McMullen, Roy (1984).
463:is now located at the
426:from southern cotton.
366:hanging above a safe.
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143:but was unsuccessful.
108:is an oil painting by
1195:10.2307/j.ctv5jxn8k.9
227:nothing but cotton."
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1425:Place de la Concorde
1253:. Houghton Mifflin.
224:Frederick Nash Ogden
137:textile manufacturer
1532:Young Woman in Blue
1516:Singer with a Glove
1314:The Bellelli Family
1133:, pp. 104–105.
984:, pp. 155–157.
948:, pp. 160–161.
726:, pp. 233–234.
553:Edgar Degas showed
465:Harvard Art Museums
266:and the end of the
1626:The Impressionists
1465:The Millinery Shop
573:. Degas exhibited
401:balletic positions
345:The Daily Picayune
190:Haitian Revolution
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1609:Marie van Goethem
1572:Ukrainian Dancers
1362:The Dancing Class
1260:978-0-395-27603-7
1204:978-1-4968-1857-7
1177:978-0-271-00944-5
1158:978-0-679-43562-4
1121:, pp. 96–99.
1109:, pp. 83–84.
972:, pp. 58–59.
774:, pp. 82–83.
545:selling his art.
336:Carondelet Street
284:confederate bonds
279:white supremacist
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1096:
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1048:
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1036:
1035:McMullen 1984
1031:
1028:
1025:, p. 59.
1024:
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1012:
1007:
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1000:
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959:
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930:
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923:
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911:
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896:
891:
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873:, p. 73.
872:
867:
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859:McMullen 1984
855:
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849:, p. 58.
848:
843:
840:
836:
831:
828:
825:, p. 15.
824:
819:
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812:
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797:
792:
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785:
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761:
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749:
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736:McMullen 1984
732:
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720:
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1564:Blue Dancers
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1228:(3): 54–76.
1225:
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675:, p. 4.
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264:emancipation
253:pivotal role
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217:
213:James Tissot
209:Henri Rouart
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1636:(2009 play)
1559:(1890–1895)
1527:(1880–1882)
1476:(1882–1884)
1468:(1879–1886)
1378: 1870
1317:(1858–1867)
1299:Edgar Degas
982:Benfey 1997
946:Benfey 1997
883:Benfey 1997
835:Benfey 1997
823:Benfey 1997
772:Benfey 1997
760:Benfey 1997
712:Benfey 1997
700:Benfey 1997
688:Benfey 1997
673:Benfey 1997
661:Benfey 1997
596:noted that
423:Dance Class
354:or wearing
352:bookkeeping
323:Composition
184:descent in
149:Pau, France
118:New Orleans
110:Edgar Degas
77: [
40:Edgar Degas
1664:Categories
1583:Sculptures
1433:L'Absinthe
1131:Brown 1994
1119:Brown 1994
1107:Brown 1994
1095:Brown 1994
1083:Brown 1994
1071:Brown 1994
1059:Brown 1994
1047:Brown 1994
1023:Brown 1994
1011:Brown 1994
999:Brown 1994
934:Brown 2018
796:Brown 2018
648:References
603:Emile Zola
330:is both a
260:diplomatic
237:Antebellum
155:Background
141:Manchester
62:Dimensions
1349:(1868–69)
1306:Paintings
1242:221192480
1151:. Knopf.
364:steamship
251:played a
245:Civil War
1634:The Line
1346:Interior
970:Foa 2020
958:Foa 2020
922:Foa 2020
910:Foa 2020
895:Foa 2020
871:Foa 2020
847:Foa 2020
811:Foa 2020
784:Foa 2020
748:Foa 2020
506:Degas's
376:textiles
370:Analysis
303:Creation
298:Painting
116:firm in
70:Location
1618:Related
1540:The Tub
1524:Waiting
1492:Pastels
1141:Sources
626:Courbet
356:dusters
255:in the
1602:Models
1594:(1881)
1567:(1897)
1551:(1886)
1543:(1886)
1535:(1884)
1519:(1878)
1511:(1877)
1503:(1877)
1484:(1889)
1460:(1879)
1452:(1879)
1444:(1879)
1436:(1876)
1428:(1875)
1420:(1875)
1412:(1874)
1404:(1874)
1396:(1873)
1388:(1871)
1365:(1870)
1357:(1869)
1341:(1866)
1333:(1866)
1325:(1860)
1257:
1240:
1211:
1201:
1174:
1155:
642:francs
569:, and
249:cotton
182:French
178:Creole
122:cotton
114:cotton
54:Medium
36:Artist
1238:S2CID
1209:JSTOR
630:Manet
405:barre
194:Paris
81:]
1255:ISBN
1199:ISBN
1172:ISBN
1153:ISBN
211:and
102:and
49:1873
46:Year
1230:doi
1226:102
1191:doi
467:in
139:in
85:Pau
1666::
1375:c.
1236:.
1224:.
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989:^
902:^
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680:^
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628:,
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471:.
457:.
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338:.
294:.
247:,
215:.
83:,
79:fr
1380:)
1373:(
1291:e
1284:t
1277:v
1263:.
1244:.
1232::
1215:.
1193::
1180:.
1161:.
490:.
347:.
106:,
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