Edgar Degas (US: /deɪˈɡɑː/ or UK: /ˈdeɪɡɑː/; born Hilaire-Germain-Edgar De Gas, French: [ilɛːʁ ʒɛʁmɛ̃ ɛdɡaʁ də ɡɑ]; 19 July 1834 – 27 September 1917) was a French artist famous for his paintings, sculptures, prints, and drawings. He is especially identified with the subject of dance; more than half of his works depict dancers. Regarded as one of the founders of Impressionism, he rejected the term, preferring to be called a realist. He was a superb draftsman, and particularly masterly in depicting movement, as can be seen in his rendition of dancers, racecourse subjects and female nudes. His portraits are notable for their psychological complexity and for their portrayal of human isolation.
At the beginning of his career, Degas wanted to be a history painter, a calling for which he was well prepared by his rigorous academic training and close study of classical art. In his early thirties, he changed course, and by bringing the traditional methods of a history painter to bear on contemporary subject matter, he became a classical painter of modern life.
Self-portrait (Degas au porte-fusain), 1855
Hilaire-Germain-Edgar De Gas
19 July 1834
|Died||27 September 1917 (aged 83)|
|Known for||Painting, sculpture, drawing|
|The Bellelli Family (1858–1867)|
Woman with Chrysanthemums (1865)
Chanteuse de Café (c. 1878)
At the Milliner's (1882)
Degas was born in Paris, France, into a moderately wealthy family. He was the oldest of five children of Célestine Musson De Gas, a Creole from New Orleans, Louisiana, and Augustin De Gas, a banker. His maternal grandfather Germain Musson, was born in Port-au-Prince, Haiti of French descent and had settled in New Orleans in 1810. Degas (he adopted this less grandiose spelling of his family name when he became an adult) began his schooling at age eleven, enrolling in the Lycée Louis-le-Grand. His mother died when he was thirteen, and his father and grandfather became the main influences on him for the remainder of his youth.
Degas began to paint early in life. By the time he graduated from the Lycée with a baccalauréat in literature in 1853, at age 18, he had turned a room in his home into an artist's studio. Upon graduating, he registered as a copyist in The Louvre Museum, but his father expected him to go to law school. Degas duly enrolled at the Faculty of Law of the University of Paris in November 1853, but applied little effort to his studies. In 1855 he met Jean-Auguste-Dominique Ingres, whom Degas revered and whose advice he never forgot: "Draw lines, young man, and still more lines, both from life and from memory, and you will become a good artist." In April of that year Degas was admitted to the École des Beaux-Arts. He studied drawing there with Louis Lamothe, under whose guidance he flourished, following the style of Ingres. In July 1856, Degas traveled to Italy, where he would remain for the next three years. In 1858, while staying with his aunt's family in Naples, he made the first studies for his early masterpiece The Bellelli Family. He also drew and painted numerous copies of works by Michelangelo, Raphael, Titian, and other Renaissance artists, but—contrary to conventional practice—he usually selected from an altarpiece a detail that had caught his attention: a secondary figure, or a head which he treated as a portrait.
Upon his return to France in 1859, Degas moved into a Paris studio large enough to permit him to begin painting The Bellelli Family—an imposing canvas he intended for exhibition in the Salon, although it remained unfinished until 1867. He also began work on several history paintings: Alexander and Bucephalus and The Daughter of Jephthah in 1859–60; Sémiramis Building Babylon in 1860; and Young Spartans around 1860. In 1861 Degas visited his childhood friend Paul Valpinçon in Normandy, and made the earliest of his many studies of horses. He exhibited at the Salon for the first time in 1865, when the jury accepted his painting Scene of War in the Middle Ages, which attracted little attention. Although he exhibited annually in the Salon during the next five years, he submitted no more history paintings, and his Steeplechase—The Fallen Jockey (Salon of 1866) signaled his growing commitment to contemporary subject matter. The change in his art was influenced primarily by the example of Édouard Manet, whom Degas had met in 1864 (while both were copying the same Velázquez portrait in the Louvre, according to a story that may be apocryphal).
Upon the outbreak of the Franco-Prussian War in 1870, Degas enlisted in the National Guard, where his defense of Paris left him little time for painting. During rifle training his eyesight was found to be defective, and for the rest of his life his eye problems were a constant worry to him.
After the war, Degas began in 1872 an extended stay in New Orleans, Louisiana, where his brother René and a number of other relatives lived. Staying at the home of his Creole uncle, Michel Musson, on Esplanade Avenue, Degas produced a number of works, many depicting family members. One of Degas's New Orleans works, A Cotton Office in New Orleans, garnered favorable attention back in France, and was his only work purchased by a museum (the Pau) during his lifetime.
Degas returned to Paris in 1873 and his father died the following year, whereupon Degas learned that his brother René had amassed enormous business debts. To preserve his family's reputation, Degas sold his house and an art collection he had inherited, and used the money to pay off his brother's debts. Dependent for the first time in his life on sales of his artwork for income, he produced much of his greatest work during the decade beginning in 1874. Disenchanted by now with the Salon, he instead joined a group of young artists who were organizing an independent exhibiting society. The group soon became known as the Impressionists. Between 1874 and 1886 they mounted eight art shows, known as the Impressionist Exhibitions. Degas took a leading role in organizing the exhibitions, and showed his work in all but one of them, despite his persistent conflicts with others in the group. He had little in common with Monet and the other landscape painters in the group, whom he mocked for painting outdoors. Conservative in his social attitudes, he abhorred the scandal created by the exhibitions, as well as the publicity and advertising that his colleagues sought. He also deeply disliked being associated with the term "Impressionist", which the press had coined and popularized, and insisted on including non-Impressionist artists such as Jean-Louis Forain and Jean-François Raffaëlli in the group's exhibitions. The resulting rancor within the group contributed to its disbanding in 1886.
As his financial situation improved through sales of his own work, he was able to indulge his passion for collecting works by artists he admired: old masters such as El Greco and such contemporaries as Manet, Pissarro, Cézanne, Gauguin, Van Gogh, and Édouard Brandon. Three artists he idolized, Ingres, Delacroix, and Daumier, were especially well represented in his collection.
In the late 1880s, Degas also developed a passion for photography. He photographed many of his friends, often by lamplight, as in his double portrait of Renoir and Mallarmé. Other photographs, depicting dancers and nudes, were used for reference in some of Degas's drawings and paintings.
As the years passed, Degas became isolated, due in part to his belief that a painter could have no personal life. The Dreyfus Affair controversy brought his anti-Semitic leanings to the fore and he broke with all his Jewish friends. His argumentative nature was deplored by Renoir, who said of him: "What a creature he was, that Degas! All his friends had to leave him; I was one of the last to go, but even I couldn't stay till the end."
Although he is known to have been working in pastel as late as the end of 1907, and is believed to have continued making sculptures as late as 1910, he apparently ceased working in 1912, when the impending demolition of his longtime residence on the rue Victor Massé forced him to move to quarters on Boulevard de Clichy. He never married and spent the last years of his life, nearly blind, restlessly wandering the streets of Paris before dying in September 1917.
Degas is often identified as an Impressionist, an understandable but insufficient description. Impressionism originated in the 1860s and 1870s and grew, in part, from the realism of such painters as Courbet and Corot. The Impressionists painted the realities of the world around them using bright, "dazzling" colors, concentrating primarily on the effects of light, and hoping to infuse their scenes with immediacy. They wanted to express their visual experience in that exact moment.
You know what I think of people who work out in the open. If I were the government I would have a special brigade of gendarmes to keep an eye on artists who paint landscapes from nature. Oh, I don't mean to kill anyone; just a little dose of bird-shot now and then as a warning.
"He was often as anti-impressionist as the critics who reviewed the shows", according to art historian Carol Armstrong; as Degas himself explained, "no art was ever less spontaneous than mine. What I do is the result of reflection and of the study of the great masters; of inspiration, spontaneity, temperament, I know nothing." Nonetheless, he is described more accurately as an Impressionist than as a member of any other movement. His scenes of Parisian life, his off-center compositions, his experiments with color and form, and his friendship with several key Impressionist artists—most notably Mary Cassatt and Édouard Manet—all relate him intimately to the Impressionist movement.
Degas's style reflects his deep respect for the old masters (he was an enthusiastic copyist well into middle age) and his great admiration for Jean-Auguste-Dominique Ingres and Eugène Delacroix. He was also a collector of Japanese prints, whose compositional principles influenced his work, as did the vigorous realism of popular illustrators such as Daumier and Gavarni. Although famous for horses and dancers, Degas began with conventional historical paintings such as The Daughter of Jephthah (c.1859–61) and The Young Spartans (c.1860–62), in which his gradual progress toward a less idealized treatment of the figure is already apparent. During his early career, Degas also painted portraits of individuals and groups; an example of the latter is The Bellelli Family (c.1858–67), a brilliantly composed and psychologically poignant portrayal of his aunt, her husband, and their children. In this painting, as in The Young Spartans and many later works, Degas was drawn to the tensions present between men and women. In his early paintings, Degas already evidenced the mature style that he would later develop more fully by cropping subjects awkwardly and by choosing unusual viewpoints.
By the late 1860s Degas had shifted from his initial forays into history painting to an original observation of contemporary life. Racecourse scenes provided an opportunity to depict horses and their riders in a modern context. He began to paint women at work, milliners and laundresses. Mlle. Fiocre in the Ballet La Source, exhibited in the Salon of 1868, was his first major work to introduce a subject with which he would become especially identified, dancers.
In many subsequent paintings dancers were shown backstage or in rehearsal, emphasizing their status as professionals doing a job. From 1870 Degas increasingly painted ballet subjects, partly because they sold well and provided him with needed income after his brother's debts had left the family bankrupt. Degas began to paint café life as well, in works such as L'Absinthe and Singer with a Glove. His paintings often hinted at narrative content in a way that was highly ambiguous; for example, Interior (which has also been called The Rape) has presented a conundrum to art historians in search of a literary source—Thérèse Raquin has been suggested—but it may be a depiction of prostitution.
As his subject matter changed, so, too, did Degas's technique. The dark palette that bore the influence of Dutch painting gave way to the use of vivid colors and bold brushstrokes. Paintings such as Place de la Concorde read as "snapshots," freezing moments of time to portray them accurately, imparting a sense of movement. The lack of color in the 1874 Ballet Rehearsal on Stage and the 1876 The Ballet Instructor can be said to link with his interest in the new technique of photography. The changes to his palette, brushwork, and sense of composition all evidence the influence that both the Impressionist movement and modern photography, with its spontaneous images and off-kilter angles, had on his work.
Blurring the distinction between portraiture and genre pieces, he painted his bassoonist friend, Désiré Dihau, in The Orchestra of the Opera (1868–69) as one of fourteen musicians in an orchestra pit, viewed as though by a member of the audience. Above the musicians can be seen only the legs and tutus of the dancers onstage, their figures cropped by the edge of the painting. Art historian Charles Stuckey has compared the viewpoint to that of a distracted spectator at a ballet, and says that "it is Degas' fascination with the depiction of movement, including the movement of a spectator's eyes as during a random glance, that is properly speaking 'Impressionist'."
Degas's mature style is distinguished by conspicuously unfinished passages, even in otherwise tightly rendered paintings. He frequently blamed his eye troubles for his inability to finish, an explanation that met with some skepticism from colleagues and collectors who reasoned, as Stuckey explains, that "his pictures could hardly have been executed by anyone with inadequate vision". The artist provided another clue when he described his predilection "to begin a hundred things and not finish one of them", and was in any case notoriously reluctant to consider a painting complete.
His interest in portraiture led Degas to study carefully the ways in which a person's social stature or form of employment may be revealed by their physiognomy, posture, dress, and other attributes. In his 1879 Portraits, At the Stock Exchange, he portrayed a group of Jewish businessmen with a hint of anti-Semitism. In 1881 he exhibited two pastels, Criminal Physiognomies, that depicted juvenile gang members recently convicted of murder in the "Abadie Affair". Degas had attended their trial with sketchbook in hand, and his numerous drawings of the defendants reveal his interest in the atavistic features thought by some 19th-century scientists to be evidence of innate criminality. In his paintings of dancers and laundresses, he reveals their occupations not only by their dress and activities but also by their body type: his ballerinas exhibit an athletic physicality, while his laundresses are heavy and solid.
By the later 1870s Degas had mastered not only the traditional medium of oil on canvas, but pastel as well. The dry medium, which he applied in complex layers and textures, enabled him more easily to reconcile his facility for line with a growing interest in expressive color.
In the mid-1870s he also returned to the medium of etching, which he had neglected for ten years. At first he was guided in this by his old friend Ludovic-Napoléon Lepic, himself an innovator in its use, and began experimenting with lithography and monotype.
He produced some 300 monotypes over two periods, from the mid-1870s to the mid-1880s and again in the early 1890s.
He was especially fascinated by the effects produced by monotype and frequently reworked the printed images with pastel. By 1880, sculpture had become one more strand to Degas's continuing endeavor to explore different media, although the artist displayed only one sculpture publicly during his lifetime.
These changes in media engendered the paintings that Degas would produce in later life. Degas began to draw and paint women drying themselves with towels, combing their hair, and bathing (see: After the Bath, Woman drying herself). The strokes that model the form are scribbled more freely than before; backgrounds are simplified.
The meticulous naturalism of his youth gave way to an increasing abstraction of form. Except for his characteristically brilliant draftsmanship and obsession with the figure, the pictures created in this late period of his life bear little superficial resemblance to his early paintings. In point of fact, these paintings—created late in his life and after the heyday of the Impressionist movement—most vividly use the coloristic techniques of Impressionism.
For all the stylistic evolution, certain features of Degas's work remained the same throughout his life. He always painted indoors, preferring to work in his studio, either from memory, photographs, or live models. The figure remained his primary subject; his few landscapes were produced from memory or imagination. It was not unusual for him to repeat a subject many times, varying the composition or treatment. He was a deliberative artist whose works, as Andrew Forge has written, "were prepared, calculated, practiced, developed in stages. They were made up of parts. The adjustment of each part to the whole, their linear arrangement, was the occasion for infinite reflection and experiment." Degas himself explained, "In art, nothing should look like chance, not even movement".
|Edgar Degas's Studies of Circus Performer, Miss Lala, Getty Museum|
|Degas' The Dance Class, Smarthistory|
|on YouTube, Art Institute of Chicago|
Degas's only showing of sculpture during his life took place in 1881 when he exhibited The Little Dancer of Fourteen Years. A nearly life-size wax figure with real hair and dressed in a cloth tutu, it provoked a strong reaction from critics, most of whom found its realism extraordinary but denounced the dancer as ugly. In a review, J.-K. Huysmans wrote: "The terrible reality of this statuette evidently produces uneasiness in the spectators; all their notions about sculpture, about those cold inanimate whitenesses ... are here overturned. The fact is that with his first attempt Monsieur Degas has revolutionized the traditions of sculpture as he has long since shaken the conventions of painting."
Degas created a substantial number of other sculptures during a span of four decades, but they remained unseen by the public until a posthumous exhibition in 1918. Neither The Little Dancer of Fourteen Years nor any of Degas's other sculptures were cast in bronze during the artist's lifetime. Degas scholars have agreed that the sculptures were not created as aids to painting, although the artist habitually explored ways of linking graphic art and oil painting, drawing and pastel, sculpture and photography. Degas assigned the same significance to sculpture as to drawing: "Drawing is a way of thinking, modelling another".
After Degas's death, his heirs found in his studio 150 wax sculptures, many in disrepair. They consulted foundry owner Adrien Hébrard, who concluded that 74 of the waxes could be cast in bronze. It is assumed that, except for the Little Dancer Aged Fourteen, all Degas bronzes worldwide are cast from surmoulages (i.e., cast from bronze masters). A surmoulage bronze is a bit smaller, and shows less surface detail, than its original bronze mold. The Hébrard Foundry cast the bronzes from 1919 until 1936, and closed down in 1937, shortly before Hébrard's death.
In 2004, a little-known group of 73 plaster casts, more or less closely resembling Degas's original wax sculptures, was presented as having been discovered among the materials bought by the Airaindor Foundry (later known as Airaindor-Valsuani) from Hébrard's descendants. Bronzes cast from these plasters were issued between 2004 and 2016 by Airaindor-Valsuani in editions inconsistently marked and thus of unknown size. There has been substantial controversy concerning the authenticity of these plasters as well as the circumstances and date of their creation as proposed by their promoters. While several museum and academic professionals accept them as presented, most of the recognized Degas scholars have declined to comment.
Degas, who believed that "the artist must live alone, and his private life must remain unknown", lived an outwardly uneventful life. In company he was known for his wit, which could often be cruel. He was characterized as an "old curmudgeon" by the novelist George Moore, and he deliberately cultivated his reputation as a misanthropic bachelor. Profoundly conservative in his political opinions, he opposed all social reforms and found little to admire in such technological advances as the telephone. He fired a model upon learning she was Protestant. Although Degas painted a number of Jewish subjects from 1865 to 1870, his anti-Semitism became apparent by the mid-1870s. His 1879 painting Portraits at the Stock Exchange is widely regarded as anti-Semitic, with the facial features of the banker taken directly from the anti-Semitic cartoons rampant in Paris at the time.
The Dreyfus Affair, which divided Paris from the 1890s to the early 1900s, further intensified his anti-Semitism. By the mid-1890s, he had broken off relations with all of his Jewish friends, publicly disavowed his previous friendships with Jewish artists, and refused to use models who he believed might be Jewish. He remained an outspoken anti-Semite and member of the anti-Semitic "Anti-Dreyfusards" until his death.
During his life, public reception of Degas's work ranged from admiration to contempt. As a promising artist in the conventional mode, Degas had a number of paintings accepted in the Salon between 1865 and 1870. These works received praise from Pierre Puvis de Chavannes and the critic Jules-Antoine Castagnary. He soon joined forces with the Impressionists, however, and rejected the rigid rules, judgments, and elitism of the Salon—just as the Salon and general public initially rejected the experimentalism of the Impressionists.
Degas's work was controversial, but was generally admired for its draftsmanship. His La Petite Danseuse de Quatorze Ans, or Little Dancer of Fourteen Years, which he displayed at the sixth Impressionist exhibition in 1881, was probably his most controversial piece; some critics decried what they thought its "appalling ugliness" while others saw in it a "blossoming".
In part Degas' originality consisted in disregarding the smooth, full surfaces and contours of classical sculpture ... [and] in garnishing his little statue with real hair and clothing made to scale like the accoutrements for a doll. These relatively "real" additions heightened the illusion, but they also posed searching questions, such as what can be referred to as "real" when art is concerned.
The suite of pastels depicting nudes that Degas exhibited in the eighth Impressionist Exhibition in 1886 produced "the most concentrated body of critical writing on the artist during his lifetime ... The overall reaction was positive and laudatory".
Recognized as an important artist in his lifetime, Degas is now considered "one of the founders of Impressionism". Though his work crossed many stylistic boundaries, his involvement with the other major figures of Impressionism and their exhibitions, his dynamic paintings and sketches of everyday life and activities, and his bold color experiments, served to finally tie him to the Impressionist movement as one of its greatest artists.
Although Degas had no formal pupils, he greatly influenced several important painters, most notably Jean-Louis Forain, Mary Cassatt, and Walter Sickert; his greatest admirer may have been Henri de Toulouse-Lautrec.
Degas's paintings, pastels, drawings, and sculptures are on prominent display in many museums, and have been the subject of many museum exhibitions and retrospectives. Recent exhibitions include Degas: Drawings and Sketchbooks (The Morgan Library, 2010); Picasso Looks at Degas (Museu Picasso de Barcelona, 2010); Degas and the Nude (Museum of Fine Arts, Boston, 2011); Degas' Method (Ny Carlsberg Glyptotek, 2013); Degas's Little Dancer (National Gallery of Art, Washington D.C., 2014) and Degas: A passion for perfection (Fitzwilliam Museum, Cambridge, 2017-2018).
Cassatt and Degas had a long period of collaboration. The two had studios close together, Cassatt at 19, rue Laval, ( less than a five-minute stroll apart, and Degas got into the habit of looking in at Cassatt's studio and offering her advice and helping her get models.), Degas at 4, rue Frochot, ( ),
They had much in common: they shared similar tastes in art and literature, came from affluent backgrounds, had studied painting in Italy, and both were independent, never marrying. The degree of intimacy between them cannot be assessed now, as no letters survive, but it is unlikely they were in a relationship given their conservative social backgrounds and strong moral principles. Several of Vincent van Gogh's letters attest Degas' sexual continence. Degas introduced Cassatt to pastel and engraving, both of which Cassatt quickly mastered, while for her part Cassatt was instrumental in helping Degas sell his paintings and promoting his reputation in America.
Both regarded themselves as figure painters, and the art historian George Shackelford suggests they were influenced by the art critic Louis Edmond Duranty's appeal in his pamphlet The New Painting for a revitalization in figure painting: "Let us take leave of the stylized human body, which is treated like a vase. What we need is the characteristic modern person in his clothes, in the midst of his social surroundings, at home or out in the street." 
After Cassatt's parents and sister Lydia joined Cassatt in Paris in 1877, Degas, Cassatt, and Lydia were often to be seen at the Louvre studying artworks together. Degas produced two prints, notable for their technical innovation, depicting Cassatt at the Louvre looking at artworks while Lydia reads a guidebook. These were destined for a prints journal planned by Degas (together with Camille Pissarro and others), which never came to fruition. Cassatt frequently posed for Degas, notably for his millinery series trying on hats.
Around 1884 Degas made a portrait in oils of Cassatt, Mary Cassatt Seated, Holding Cards.[a] A circa 1880 Self-Portrait by Cassatt depicts her in the identical hat and dress, leading Griselda Pollock to speculate they were executed in a joint painting session in the early years of their acquaintance.
Cassatt and Degas worked most closely together in the fall and winter of 1879–80 when Cassatt was mastering her printmaking technique. Degas owned a small printing press, and by day she worked at his studio using his tools and press while in the evening she made studies for the etching plate the next day. However, in April 1880, Degas abruptly withdrew from the prints journal they had been collaborating on, and without his support the project folded. Degas' withdrawal piqued Cassatt who had worked hard at preparing a print, In the Opera Box, in a large edition of fifty impressions, no doubt destined for the journal. Although Cassatt's warm feelings for Degas were to last her entire life, she never again worked with him as closely as she had over the prints journal. Mathews notes that she ceased executing her theater scenes at this time.
Degas was forthright in his views, as was Cassatt. They clashed over the Dreyfus affair (early in her career she had executed a portrait of the art collector Moyse Dreyfus, a relative of the court-martialled lieutenant at the center of the affair).[b] Cassatt later expressed satisfaction at the irony of Lousine Havermeyer's 1915 joint exhibition of hers and Degas' work being held in aid of women's suffrage, equally capable of affectionately repeating Degas' antifemale comments as being estranged by them (when viewing her Two Women Picking Fruit for the first time, he had commented "No woman has the right to draw like that"). From the 1890s onwards their relationship took on a decidedly commercial aspect, as in general had Cassatt's other relations with the Impressionist circle; nevertheless they continued to visit each other until Degas' death in 1917.
After the Bath, Woman drying herself is a pastel drawing by Edgar Degas, made some time between 1890 and 1895. It has been in the collection of the National Gallery, London since 1959. The work is part of a series of drawings, preliminary sketches and completed works in pastels and oils by Degas from this period that depict women bathing.Before the Race
Before the Race (1882–84) is a painting by Impressionist painter, Edgar Degas, who began painting scenes with horses in the 1860s.Café-Concert at Les Ambassadeurs
Café-Concert at Les Ambassadeurs (French - Le Café-concert aux ambassadeurs) is a monotype pastel by Edgar Degas of the cafe-concert at the Les Ambassadeurs restaurant. It was first exhibited in 1877 at an Impressionist exhibition and is now in the Musée des Beaux-Arts de Lyon. A later non-monotype version from 1885 is now in the Musée d'Orsay.Count Lepic and His Daughters
Ludovic Lepic and His Daughters (French: Ludovic Lepic et ses filles) is a painting by Edgar Degas that was completed around 1871. The painting depicts Ludovic-Napoléon Lepic with his young daughters.
On February 10, 2008, the painting was stolen from Foundation E.G. Bührle in Zürich, Switzerland. It was recovered in April 2012 with slight damage.Degas also painted Ludovic Lepic in the painting Place de la Concorde.L'Absinthe
L'Absinthe (English: The Absinthe Drinker or Glass of Absinthe) is a painting by Edgar Degas, painted between 1875 and 1876. Its original title was Dans un Café, a name often used today.Other early titles were A sketch of a French Café and Figures at Café. Then, when exhibited in London in 1893, the title was changed to L'Absinthe, the name by which the painting is now commonly known. It is in the permanent collection of the Musée d'Orsay in Paris.Louisine Havemeyer
Louisine Waldron Elder Havemeyer (July 28, 1855 – January 6, 1929) was an art collector, feminist, and philanthropist. In addition to being a patron of impressionist art, she was one of the more prominent contributors to the suffrage movement in the United States. The impressionist painter Edgar Degas and feminist Alice Paul were among the renowned recipients of the benefactor's support.Miss La La at the Cirque Fernando
Miss La La at the Cirque Fernando is a painting by Edgar Degas, the French Impressionist artist, now in the collection of the National Gallery in London, England. It shows the acrobat Miss La La hanging on a rope by her teeth at the Cirque Fernando in Montmartre, Paris.
The painting was bought by the Trustees of the Courtauld Fund in 1925. It was returned from the Tate Gallery to the National Gallery in 1950.
Currently on loan to Sheffield Weston Park museum (July 2018). Professor Vanessa Toumlin said in an article in the Sheffield Telegraph that Miss La La was a woman of colour noted for her great strength.Place de la Concorde (painting)
Place de la Concorde or Viscount Lepic and his Daughters Crossing the Place de la Concorde is an 1876 oil painting by Edgar Degas. It depicts the cigar-smoking Ludovic-Napoléon Lepic, his daughters, his dog, and a solitary man on the left at Place de la Concorde in Paris. The Tuileries Gardens can be seen in the background, behind a stone wall.
Many art historians believe that the large amount of negative space, the cropping, and the way in which the figures are facing in random directions were influenced by photography.
The painting was considered lost for four decades following World War II, until Russian authorities put it on exhibition at the Hermitage Museum in Russia, where it remains to this day. During the Soviet occupation of Germany, the work was confiscated by the Soviets from the collection of Otto Gerstenberg and eventually moved to the Hermitage.
Degas also painted Ludovic Lepic and His Daughters in a separate painting.The Ballet Class (Degas, Musée d'Orsay)
The Ballet Class (French: La Classe de danse) is a painting by Edgar Degas, which was painted between 1871 and 1874. It is in the collection of the Musée d'Orsay, Paris, France. It was commissioned by Jean-Baptiste Faure. Degas temporarily abandoned work on this painting, and delivered a work of a similar name to Faure.The painting depicts dancers at the end of a lesson under ballet master Jules Perrot. Perrot and Degas were friends, and Degas painted the dance class in the Paris Opera a year after it burnt down.The Collector of Prints (Edgar Degas)
The Collector of Prints is a mid-19th century painting by French artist Edgar Degas. Done in oil on canvas, the painting is currently in the collection of the Metropolitan Museum of Art.The Dance Class (Degas, Metropolitan Museum of Art)
The Dance Class is an 1874 painting by Edgar Degas. It is in the collection of the Metropolitan Museum of Art.The painting and its companion work in the Musée d'Orsay, Paris are amongst the most ambitious works by Degas on the theme of ballet. The imaginary scene depicts a dance class being held under the supervision of Jules Perrot, a famous ballet master, in the old Paris Opera, which had actually burnt down the previous year.
The poster on the wall for Rossini’s Guillaume Tell is a tribute to the operatic singer Jean-Baptiste Faure, who had commissioned the work.
The picture is on view in the Met Museum's Gallery 815.The Dance Lesson
The Dance Lesson (sometimes known as The Dancing Lesson) is an oil on canvas painting by the French artist Edgar Degas created around 1879. It is currently kept at the National Gallery of Art in Washington, D.C. There is at least one other work by Degas by this title, also made in about 1879, which is a pastel.The Dancing Class
The Dancing Class is an oil painting by Edgar Degas. It was painted about 1870. It was the first of Degas's "ballet pictures". The painting depicts a dancing class at the Paris Opéra. The dancer in the center is Joséphine Gaujelin (or Gozelin).The Impressionists (TV series)
The Impressionists is a 2006 three-part factual docudrama from the BBC, which reconstructs the origins of the Impressionist art movement. Based on archive letters, records and interviews from the time, the series records the lives of the artists who were to transform the art world.The Line (play)
The Line is a 2009 play by British dramatist Timberlake Wertenbaker about the relationship between Edgar Degas and Suzanne Valadon. Set in " the intimate, if quarrelsome world of Montmartre", at the play's heart are " a leading artist, a protegee and a clash between traditions, lifestyles and eras." The 2009 London production of the play starred Henry Goodman as Degas and Sarah Smart as Valadon.
Wertenbaker has stated that she began with Valadon because someone had given her a biography which she found fascinating. In the biography she came across Degas and the relationship between the two intrigued Wertenbaker.
Valadon called Degas the Master, but Wertenbaker believes he also learned from her. "He loved her drawings and he did imitate them...I think he may also have learned other things from her; that there was another way of living, that there was another way of being that was very attractive.
It's hard to imagine that he spent as much time as he did with her and spoke of her so warmly and wanted to see her so much if he didn't get something from her because Degas was somebody who was very curious and didn't suffer fools gladly."The Millinery Shop
The Millinery Shop (1879/86) is a painting by French artist Edgar Degas. It depicts a woman sitting at a display table in a millinery shop, appearing to closely examine or work on a lady's hat, which she holds in her hands. The view of the scene is at an angle from above. Although Degas created several paintings concerning milliners, this painting is his "largest and only 'museum scale work' on this subject".The Wolf at the Door
The Wolf at the Door (Danish: Oviri, French: Gauguin, le loup dans le soleil) is a 1986 Danish-French biographical drama film written and directed by Henning Carlsen. It is based on real life events of French artist Paul Gauguin. It was entered into the main competition at the 43rd Venice International Film Festival.Young Spartans Exercising
Young Spartans Exercising, also known as Young Spartans and also as Young Spartan Girls Challenging Boys, is an early oil on canvas painting by French impressionist artist Edgar Degas. The work depicts two groups of male and female Spartan youth exercising and challenging each other in some way. The work is now in the permanent collection of the National Gallery in London.Young Woman in Blue
Young Woman in Blue is a drawing by French artist Edgar Degas, created in 1884. It is currently in the permanent collection at the Indianapolis Museum of Art.