Modern Woman Mary Cassatt Mary Cassatt the Art Music and Dancing

French Impressionist artist (1834–1917)

Edgar Degas
Cocky-portrait (Degas au porte-fusain), 1855
Born	Hilaire-Germain-Edgar De Gas (1834-07-19)19 July 1834 Paris, France
Died	27 September 1917(1917-09-27) (aged 83) Paris, France
Known for	Painting, sculpture, drawing
Notable piece of work	The Bellelli Family (1858–1867) The Ballet Class (1871–1874) The Absinthe (1875–1876) The Tub (1886)
Motility	Impressionism
Signature

Edgar Degas (, ;^{[1] [2]} built-in Hilaire-Germain-Edgar De Gas, French: [ilɛːʁ ʒɛʁmɛ̃ ɛdɡaʁ də ɡa]; 19 July 1834 – 27 September 1917) was a French Impressionist creative person famous for his pastel drawings and oil paintings.

Degas also produced bronze sculptures, prints and drawings. Degas is especially identified with the bailiwick of trip the light fantastic; more than half of his works describe dancers.^[3] Although Degas is regarded as i of the founders of Impressionism, he rejected the term, preferring to exist called a realist,^[four] and did not paint outdoors equally many Impressionists did.

Degas was a superb draftsman, and especially masterly in depicting movement, as tin can be seen in his rendition of dancers and bathing female nudes. In addition to ballet dancers and bathing women, Degas painted racehorses and racing jockeys, besides as portraits. His portraits are notable for their psychological complexity and their portrayal of human being isolation.^[5]

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 grooming and close study of classical art. In his early on thirties he changed course, and by bringing the traditional methods of a history painter to impact contemporary subject matter, he became a classical painter of modern life.^{[half dozen]}

Early life [edit]

Edgar Degas c. 1855–1860^[7]

Degas was born in Paris, France, into a moderately wealthy family unit. He was the oldest of five children of Célestine Musson De Gas, a Creole from New Orleans, Louisiana, and Augustin De Gas, a banker.^[8] His maternal grandad Germain Musson, was born in Port-au-Prince, Haiti, of French descent, and had settled in New Orleans in 1810.^[9]

Degas (he adopted this less grandiose spelling of his family proper name when he became an adult)^[ten] began his schooling at age eleven, enrolling in the Lycée Louis-le-Grand.^[11] His female parent died when he was thirteen, and the main influences on him for the residual of his youth were his male parent and several single uncles.^[12]

Edgar Degas, Self-Portrait, c. 1855. Ruby-red chalk on laid newspaper; 31 x 23.iii cm (12 3/16 x 9 3/sixteen in.) National Gallery of Fine art, Washington.

Degas began to paint early in life. By the fourth dimension he graduated from the Lycée with a baccalauréat in literature in 1853, at historic period 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, simply his father expected him to get to police school. Degas duly enrolled at the Faculty of Law of the University of Paris in Nov 1853 simply applied little effort to his studies.

In 1855, he met Jean-Auguste-Dominique Ingres, whom he revered and whose communication he never forgot: "Draw lines, beau, and still more than lines, both from life and from memory, and you will become a expert artist."^[13] In April of that twelvemonth Degas was admitted to the École des Beaux-Arts. He studied cartoon at that place with Louis Lamothe, under whose guidance he flourished, following the way of Ingres.^[14]

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 fabricated the offset studies for his early on masterpiece The Bellelli Family. He likewise drew and painted numerous copies of works by Michelangelo, Raphael, Titian, and other Renaissance artists, just—contrary to conventional exercise—he usually selected from an altarpiece a detail that had caught his attention: a secondary figure, or a caput which he treated every bit a portrait.^[15]

Artistic career [edit]

Upon his return to France in 1859, Degas moved into a Paris studio large plenty to permit him to begin painting The Bellelli Family—an imposing canvas he intended for exhibition in the Salon, although information technology remained unfinished until 1867. He besides began work on several history paintings: Alexander and Bucephalus and The Daughter of Jephthah in 1859–threescore; Sémiramis Building Babylon in 1860; and Young Spartans effectually 1860.^[xvi] 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 fourth dimension in 1865, when the jury accepted his painting Scene of War in the Heart Ages, which attracted little attention.^[17]

Although he exhibited annually in the Salon during the adjacent five years, he submitted no more than 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).^[eighteen]

Upon the outbreak of the Franco-Prussian War in 1870, Degas enlisted in the National Guard, where his defence of Paris left him piddling time for painting. During rifle preparation his eyesight was found to be defective, and for the rest of his life his centre problems were a abiding worry to him.^[19]

After the war, Degas began in 1872 an extended stay in New Orleans, where his brother René and a number of other relatives lived. Staying at the dwelling of his Creole uncle, Michel Musson, on Esplanade Avenue,^[20] 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.^[21]

Degas returned to Paris in 1873 and his begetter died the following year, whereupon Degas learned that his brother René had clustered enormous business debts. To preserve his family's reputation, Degas sold his firm and an fine 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.^[22] Disenchanted past at present with the Salon, he instead joined a group of young artists who were organizing an independent exhibiting order. The group soon became known as the Impressionists.

Between 1874 and 1886, they mounted viii art shows, known as the Impressionist Exhibitions. Degas took a leading role in organizing the exhibitions, and showed his work in all merely i of them, despite his persistent conflicts with others in the group. He had niggling 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, likewise as the publicity and advertising that his colleagues sought.^[4] He also securely disliked being associated with the term "Impressionist", which the press had coined and popularized, and insisted on including not-Impressionist artists such as Jean-Louis Forain and Jean-François Raffaëlli in the grouping's exhibitions. The resulting rancor within the group contributed to its disbanding in 1886.^[23]

Equally his financial situation improved through sales of his own work, he was able to indulge his passion for collecting works by artists he admired: former masters such every bit El Greco and such contemporaries equally Manet, Pissarro, Cézanne, Gauguin, Van Gogh, and Édouard Brandon. Iii artists he idolized, Ingres, Delacroix, and Daumier, were especially well represented in his collection.^[24]

In the late 1880s, Degas likewise developed a passion for photography.^[25] He photographed many of his friends, frequently 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'southward drawings and paintings.^[26]

As the years passed, Degas became isolated, due in role to his belief that a painter could have no personal life.^[27] The Dreyfus Affair controversy brought his anti-Semitic leanings to the fore and he broke with all his Jewish friends.^[28] His argumentative nature was deplored by Renoir, who said of him: "What a brute he was, that Degas! All his friends had to leave him; I was 1 of the last to become, but even I couldn't stay till the end."^[29]

After 1890, Degas's eyesight, which had long troubled him, deteriorated further.^[30] Although he is known to have been working in pastel as tardily as the end of 1907, and is believed to have continued making sculptures every bit late as 1910, he obviously ceased working in 1912, when the impending demolition of his longtime residence on the rue Victor Massé forced him to move to quarters on the Boulevard de Clichy.^[31] He never married, and spent the final years of his life, nearly blind, restlessly wandering the streets of Paris before dying in September 1917.^[32]

Creative mode [edit]

Degas is oftentimes identified as an Impressionist, an understandable simply bereft description. Impressionism originated in the 1860s and 1870s and grew, in role, from the realism of such painters equally 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.^[33]

Technically, Degas differs from the Impressionists in that he continually belittled their practise of painting en plein air.^[34]

Y'all know what I retrieve of people who work out in the open up. If I were the government I would accept a special brigade of gendarmes to continue an center on artists who paint landscapes from nature. Oh, I don't mean to kill anyone; merely a little dose of bird-shot at present then every bit a alarm.^[35]

"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 event of reflection and of the study of the nifty masters; of inspiration, spontaneity, temperament, I know nothing."^[36] Still, he is described more than accurately as an Impressionist than as a member of whatever other movement. His scenes of Parisian life, his off-center compositions, his experiments with color and grade, and his friendship with several key Impressionist artists—most notably Mary Cassatt and Manet—all relate him intimately to the Impressionist movement.^[37]

Degas'due south fashion reflects his deep respect for the old masters (he was an enthusiastic copyist well into middle age)^[38] and his not bad admiration for Ingres and 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 Immature 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), an aggressive and psychologically poignant portrayal of his aunt, her husband, and their children.^[39] In this painting, equally in The Young Spartans and many afterwards works, Degas was fatigued to the tensions present between men and women.^[40] In his early on paintings, Degas already evidenced the mature style that he would afterward develop more fully past cropping subjects awkwardly and by choosing unusual viewpoints.^[41]

By the late 1860s, Degas had shifted from his initial forays into history painting to an original ascertainment of gimmicky 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 innovate a subject field with which he would get especially identified, dancers.^[42]

In many subsequent paintings, dancers were shown backstage or in rehearsal, emphasizing their status equally professionals doing a job. From 1870 Degas increasingly painted ballet subjects, partly considering they sold well and provided him with needed income after his blood brother's debts had left the family bankrupt.^[43] Degas began to paint café life as well, in works such every bit 50'Absinthe and Singer with a Glove. His paintings often hinted at narrative content in a way that was highly cryptic; for example, Interior (which has besides been called The Rape) has presented a conundrum to art historians in search of a literary source—Thérèse Raquin has been suggested^[44]—but information technology may be a delineation of prostitution.^[45]

As his subject matter changed, then, too, did Degas'due south technique. The dark palette that bore the influence of Dutch painting gave mode 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 show the influence that both the Impressionist movement and mod photography, with its spontaneous images and off-kilter angles, had on his work.^[37]

Blurring the distinction between portraiture and genre pieces, he painted his bassoonist friend, Désiré Dihau, in The Orchestra of the Opera (1868–69) as ane of 14 musicians in an orchestra pit, viewed as though by a member of the audience. In a higher place the musicians can be seen just 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 "information technology is Degas' fascination with the depiction of movement, including the motility of a spectator's eyes as during a random glance, that is properly speaking 'Impressionist'."^[46]

Musicians in the Orchestra, 1872, oil on sail

Degas'southward mature style is distinguished by clearly unfinished passages, even in otherwise tightly rendered paintings. He frequently blamed his center troubles for his inability to finish, an caption that met with some skepticism from colleagues and collectors who reasoned, every bit Stuckey explains, that "his pictures could hardly accept been executed past anyone with inadequate vision".^[19] The artist provided another clue when he described his predilection "to begin a hundred things and not finish one of them",^[47] and was in whatever case notoriously reluctant to consider a painting complete.^[48]

His involvement in portraiture led Degas to study advisedly the ways in which a person's social stature or form of employment may be revealed past 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 manus, and his numerous drawings of the defendants reveal his interest in the atavistic features thought past some 19th-century scientists to exist testify of innate criminality.^[49] In his paintings of dancers and laundresses, he reveals their occupations not only by their clothes and activities but also by their body blazon: his ballerinas showroom an athletic physicality, while his laundresses are heavy and solid.^[50]

Past the later 1870s, Degas had mastered not only the traditional medium of oil on canvas, but pastel too. The dry medium, which he practical in complex layers and textures, enabled him more easily to reconcile his facility for line with a growing interest in expressive colour.^[51]

In the mid-1870s, he also returned to the medium of etching, which he had neglected for x 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.^[52]

He produced some 300 monotypes over ii periods, from the mid-1870s to the mid-1880s and again in the early 1890s.^[53]

He was especially fascinated by the furnishings produced past monotype and frequently reworked the printed images with pastel.^[52] By 1880, sculpture had get one more strand to Degas's continuing endeavor to explore different media, although the creative person displayed just one sculpture publicly during his lifetime.^[54]

La Toilette (Adult female Combing Her Hair), c. 1884–1886, pastel on newspaper, Hermitage Museum, St. Petersburg

These changes in media engendered the paintings that Degas would produce in afterward life. Degas began to depict and pigment women drying themselves with towels, combing their hair, and bathing (see: Subsequently the Bath, Woman drying herself). The strokes that model the form are scribbled more freely than before; backgrounds are simplified.^[55]

The meticulous naturalism of his youth gave fashion to an increasing brainchild of class. Except for his characteristically brilliant draftsmanship and obsession with the figure, the pictures created in this belatedly menses of his life carry little superficial resemblance to his early on paintings. In point of fact, these paintings—created tardily in his life and subsequently the heyday of the Impressionist movement—well-nigh vividly use the coloristic techniques of Impressionism.^{[56] [57]}

For all the stylistic evolution, sure features of Degas'south piece of work remained the same throughout his life. He always painted indoors, preferring to work in his studio from memory, photographs, or alive models.^[58] The figure remained his primary field of study; his few landscapes were produced from memory or imagination. Information technology was not unusual for him to repeat a subject many times, varying the composition or handling. He was a deliberative creative person whose works, every bit Andrew Forge has written, "were prepared, calculated, practiced, developed in stages. They were fabricated upward of parts. The adjustment of each part to the whole, their linear arrangement, was the occasion for infinite reflection and experiment."^[59] Degas himself explained, "In art, nothing should wait like chance, non even move".^[43]

Sculpture [edit]

External video
Miss La La at the Cirque Fernando, (1879) National Gallery, London
Edgar Degas's Studies of Circus Performer, Miss Lala, Getty Museum
Degas' The Dance Class, Smarthistory
Video Postcard: The Millinery Shop (1879/86) on YouTube, Art Constitute of Chicago

Degas'due south only showing of sculpture during his life took identify in 1881 when he exhibited The Little Dancer of Xiv Years. A near life-size wax effigy with real pilus and dressed in a textile tutu, it provoked a strong reaction from critics, most of whom found its realism extraordinary but denounced the dancer as ugly.^[60] In a review, J.-K. Huysmans wrote: "The terrible reality of this statuette evidently produces uneasiness in the spectators; all their notions near sculpture, almost those cold inanimate whitenesses ... are hither overturned. The fact is that with his beginning endeavour Monsieur Degas has revolutionized the traditions of sculpture equally he has long since shaken the conventions of painting."^[61]

Degas created a substantial number of other sculptures during a bridge of four decades, but they remained unseen by the public until a posthumous exhibition in 1918. Neither The Niggling Dancer of Fourteen Years nor whatever of Degas'southward other sculptures were cast in bronze during the artist'southward lifetime.^[60] Degas scholars have agreed that the sculptures were not created equally aids to painting, although the artist habitually explored ways of linking graphic art and oil painting, cartoon and pastel, sculpture and photography. Degas assigned the aforementioned significance to sculpture as to drawing: "Drawing is a way of thinking, modelling another".^[43]

Subsequently Degas's death, his heirs found in his studio 150 wax sculptures, many in busted. They consulted foundry owner Adrien Hébrard, who concluded that 74 of the waxes could be cast in statuary. Information technology is assumed that, except for the Piffling Dancer Aged 14, all Degas bronzes worldwide are cast from surmoulages [fr] (i.eastward., cast from bronze masters). A surmoulage bronze is a bit smaller, and shows less surface detail, than its original bronze mold. The Hébrard Foundry bandage the bronzes from 1919 until 1936, and airtight down in 1937, before long before Hébrard's expiry.

In 2004, a little-known grouping of 73 plaster casts, more or less closely resembling Degas'due south original wax sculptures, was presented as having been discovered among the materials bought past the Airaindor Foundry (afterward known as Airaindor-Valsuani) from Hébrard'southward 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.^{[lx] [62]} While several museum and academic professionals take them as presented, near of the recognized Degas scholars have declined to comment.^{[63] [64]}

Personality and politics [edit]

Degas, who believed that "the artist must live alone, and his individual life must remain unknown",^[65] lived an outwardly uneventful life. In visitor he was known for his wit, which could often be cruel. He was characterized as an "onetime curmudgeon" by the novelist George Moore,^[65] and he deliberately cultivated his reputation every bit a misanthropic bachelor.^[29]

In the 1870s, Degas gravitated towards the republican circles of Léon Gambetta.^[66] However, his republicanism did non come untainted, and signs of the prejudice and irritability which would overtake him in old age were occasionally manifested. He fired a model upon learning she was Protestant.^[65] Although Degas painted a number of Jewish subjects from 1865 to 1870, his 1879 painting Portraits at the Stock Exchange may be a watershed in his political opinions. The painting is a portrait of the Jewish banker Ernest May—who may have deputed the work and was its commencement owner—and is widely regarded equally anti-Semitic past modern experts. The facial features of the broker in profile have been direct compared to those in the anti-Semitic cartoons rampant in Paris at the time, while those of the groundwork characters take fatigued comparisons to Degas' earlier work Criminal Physiognomies.^{[67] [68]}

The Dreyfus Affair, which divided opinion in Paris from the 1890s to the early 1900s, intensified his anti-Semitism. By the mid-1890s, he had cleaved off relations with all of his Jewish friends,^[28] 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 fellow member of the anti-Semitic "Anti-Dreyfusards" until his death.^[69]

Reputation [edit]

During his life, public reception of Degas's work ranged from adoration to antipathy. Equally a promising artist in the conventional fashion, 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.^[seventy] He soon joined forces with the Impressionists, however, and rejected the rigid rules and judgments of the Salon.^[22]

Degas's piece of work was controversial, simply was generally admired for its draftsmanship. His La Petite Danseuse de Quatorze Ans, or Footling Dancer of Fourteen Years, which he displayed at the sixth Impressionist exhibition in 1881, was probably his most controversial slice; some critics decried what they thought its "appalling ugliness" while others saw in information technology a "blossoming".^[71]

In part Degas' originality consisted in disregarding the smooth, total surfaces and contours of classical sculpture ... [and] in garnishing his little statue with real hair and vesture made to scale like the accoutrements for a doll. These relatively "existent" additions heightened the illusion, but they also posed searching questions, such as what can exist referred to as "real" when art is concerned.^[72]

The suite of pastels depicting nudes that Degas exhibited in the 8th Impressionist Exhibition in 1886 produced "the virtually concentrated torso of disquisitional writing on the creative person during his lifetime ... The overall reaction was positive and laudatory".^[73]

Recognized as an of import artist in his lifetime, Degas is now considered "one of the founders of Impressionism".^[74] 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 motion equally i of its greatest artists.^[37]

Although Degas had no formal pupils, he greatly influenced several of import painters, near notably Jean-Louis Forain, Mary Cassatt, and Walter Sickert;^[75] his greatest admirer may have been Henri de Toulouse-Lautrec.^[55]

Degas'south paintings, pastels, drawings, and sculptures are on prominent display in many museums, and take 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'south Little Dancer (National Gallery of Art, Washington D.C., 2014) and Degas: A passion for perfection (Fitzwilliam Museum, Cambridge, 2017–2018).^[76]

Human relationship with Mary Cassatt [edit]

Edgar Degas, Mary Cassatt Seated, Holding Cards, c. 1880–1884, oil on canvas, National Portrait Gallery, Washington DC (NPG.84.34)^[77]

In 1877, Degas invited Mary Cassatt to showroom in the third Impressionist exhibition.^[78] He had admired a portrait (Ida) she exhibited in the Salon of 1874, and the two formed a friendship. They had much in common: they shared like tastes in fine art and literature, came from affluent backgrounds, had studied painting in Italia, and both were independent, never marrying. Both regarded themselves equally effigy painters, and the art historian George Shackelford suggests they were influenced past 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 being body, which is treated like a vase. What we demand is the characteristic modern person in his dress, in the midst of his social surround, at home or out in the street."^{[79] [80]}

Mary Cassatt, Self-Portrait, c. 1880, gouache and watercolor over graphite on newspaper, National Portrait Gallery, Washington DC (NPG.76.33)^[77]

After Cassatt's parents and sister Lydia joined Cassatt in Paris in 1877, Degas, Cassatt, and Lydia were frequently 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 past Degas (together with Camille Pissarro and others), which never came to fruition. Cassatt often posed for Degas, notably for his millinery serial trying on hats.^[81]

Degas introduced Cassatt to pastel and engraving, while for her part Cassatt was instrumental in helping Degas sell his paintings and promoting his reputation in America.^[82] Cassatt and Degas worked nearly closely together in the fall and winter of 1879–lxxx 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. However, in April 1880, Degas abruptly withdrew from the prints journal they had been collaborating on, and without his back up the projection folded. Although they continued to visit each other until Degas' death in 1917,^[83] she never again worked with him equally closely as she had over the prints periodical.

Effectually 1884, Degas made a portrait in oils of Cassatt, Mary Cassatt Seated, Holding Cards. Stephanie Strasnick suggests that the cards are probably cartes de visite, used by artists and dealers at the time to certificate their work.^[84] Cassatt thought it represented her as "a repugnant person" and later sold it, writing to her dealer Paul Durand-Ruel in 1912 or 1913 that "I would not want it known that I posed for it."^[85]

Degas was forthright in his views, every bit was Cassatt.^[86] They clashed over the Dreyfus affair.^{[a] [88] [89]} Cassatt later expressed satisfaction at the irony of Lousine Havermeyer's 1915 joint exhibition of hers and Degas' work being held in help of women's suffrage, equally capable of affectionately repeating Degas' antifemale comments as being estranged past them (when viewing her 2 Women Picking Fruit for the first time, he had commented "No adult female has the correct to draw like that").^[90]

Gallery [edit]

Paintings [edit]

• 

• 

• 

• 

  Rehearsal on Stage, 1874, Musée d'Orsay, Paris

• 

  At the Café-Concert: The Song of the Dog, 1875–1877

• 

  Fin d'Arabesque, with ballerina Rosita Mauri, 1877, Musée d'Orsay

• 

  Dancer with a Bouquet of Flowers (Star of the Ballet) (likewise with ballerina Rosita Mauri), 1878

• 

• 

• 

  Woman in Street Clothes, Portrait of Ellen Andrée, 1879, pastel on paper

• 

  Waiting, pastel on paper, 1880–1882

• 

• 

  Ukrainian Dancers, c. 1899, pastel and charcoal on paper, 73 × 59 cm, The National Gallery, London

Nudes [edit]

• 

• 

  After the Bath, Adult female Drying Herself, c. 1884–1886, reworked between 1890 and 1900, pastel on wove newspaper, 40.5 × 32 cm, Musée Malraux, Le Havre

• 

• 

  Later the Bath, Woman Drying her Nape, pastel on paper, 1898, Musée d'Orsay, Paris

Sculptures [edit]

• 

References [edit]

Notes [edit]

1. ^ Pro-Dreyfus included Camille Pissarro, Claude Monet, Paul Signac and Mary Cassatt. Anti-Dreyfus included Edgar Degas, Paul Cézanne, Auguste Rodin and Pierre-Auguste Renoir.^[87]

Citations [edit]

1. ^ Upton, Clive; Kretzschmar, William A., Jr. (2017). The Routledge Dictionary of Pronunciation for Electric current English (2nd ed.). Routledge. p. 330. ISBN978-1-138-12566-7. ; Bollard, John K. (1998). Pronouncing Dictionary of Proper Names (2d ed.). Detroit, MI: Omnigraphics, Inc. p. 272. ISBN978-0-7808-0098-4.
2. ^ Wells, John C. (2008). Longman Pronunciation Lexicon (3rd ed.). Longman. ISBN978-one-4058-8118-0.
3. ^ Trachtman, Paul, Degas and His Dancers, Smithsonian Mag, April 2003
4. ^ ^{a b} Gordon and Forge 1988, p. 31
5. ^ Brownish 1994, p. 11
6. ^ Turner 2000, p. 139
7. ^ Gordon and Forge 1988, p. 17
8. ^ Baumann, et al. 1994, p. 86.
9. ^ Brown, Marilyn R (1994). Degas and the Business of Fine art. p. xiv. ISBN0-271-04431-4 . Retrieved 29 September 2014.
10. ^ The family unit'southward bequeathed proper noun was Degas. Jean Sutherland Boggs explains that De Gas was the spelling, "with some pretensions, used by the creative person's father when he moved to Paris to establish a French branch of his father's Neapolitan bank." While Edgar Degas's brother René adopted the notwithstanding more aristocratic de Gas, the artist reverted to the original spelling, Degas, by the age of thirty. Baumann, et al. 1994, p. 98.
11. ^ Baumann, et al. 1994, p. 86
12. ^ Gordon and Forge 1988, p. xvi
13. ^ Werner 1969, p. xiv
14. ^ Canaday 1969, p. 930–931
15. ^ Dunlop 1979, p. 19
16. ^ Gordon and Forge 1988, p. 43
17. ^ Thomson 1988, p. 48
18. ^ Gordon and Forge 1988, p. 23
19. ^ ^{a b} Guillaud and Guillaud 1985, p. 29
20. ^ "Michael Musson and Odile Longer: Degas' aunt and uncle in New Orleans". Degaslegacy.com. thirty March 1973. Retrieved 18 March 2013.
21. ^ Baumann, et al. 1994, p. 202
22. ^ ^{a b} Guillaud and Guillaud 1985, p. 33
23. ^ Armstrong 1991, p. 25
24. ^ "In the final inventory of his collection, there were xx paintings and eighty-eight drawings by Ingres, thirteen paintings and almost two hundred drawings by Delacroix. There were hundreds of lithographs by Daumier. His contemporaries were well represented—with the exception of Monet, by whom he had nix." Gordon and Forge 1988, p. 37
25. ^ Gordon and Forge 1988, p. 26
26. ^ Gordon and Forge 1988, p. 34
27. ^ Canaday 1969, p. 929
28. ^ ^{a b} Guillaud and Guillaud 1985, p. 56
29. ^ ^{a b} Bade and Degas 1992, p. 6
30. ^ Baumann, et al. 1994, p. 99.
31. ^ Thomson 1988, p. 211
32. ^ Gordon and Forge 1988, p. 41
33. ^ Clay 1973, p. 28.
34. ^ Gordon and Forge 1988, p. 11
35. ^ Vollard, Ambroise, Degas: an intimate portrait, Crown, New York, 1937, p. 56
36. ^ Armstrong 1991, p. 22
37. ^ ^{a b c} Roskill 1983, p. 33
38. ^ Baumann, et al. 1994, p. 151
39. ^ Baumann, et al. 1994, p. 189
40. ^ Shackelford, et al. 2011, pp. threescore–61
41. ^ Gordon and Forge 1988, pp. 120–126, 137
42. ^ Dumas 1988, p. 9.
43. ^ ^{a b c} Growe 1992
44. ^ Reff 1976, pp. 200–204
45. ^ Krämer 2007
46. ^ Guillaud and Guillaud 1985, p. 28
47. ^ Guillaud and Guillaud 1985, p. 50
48. ^ Guillaud and Guillaud 1985, p. thirty
49. ^ Kendall, Richard; et al. (1998). Degas and The Little Dancer. Yale University Printing. pp. 78–85. ISBN978-0-300-07497-0.
50. ^ Muehlig 1979, p. six
51. ^ Kendall 1996, pp. 93, 97
52. ^ ^{a b} Thomson 1988, p. 75
53. ^ Gerber, Louis. "Degas: A Foreign New Beauty".
54. ^ Guillaud and Guillaud 1985, p. 182
55. ^ ^{a b} Guillaud and Guillaud 1985, p. 48
56. ^ Mannering 1994, pp. 70–77
57. ^ Rich, Daniel Catton, Edgar-Hilaire Germain Degas, H.N. Abrams, New York, 1952, p. six
58. ^ Benedek "Style."
59. ^ Gordon and Forge 1988, p. 9
60. ^ ^{a b c} Cohan, William D., "A Controversy over Degas", Artnews, April 2010. Retrieved 13 August 2014.
61. ^ Gordon and Forge 1988, p. 206
62. ^ Cohan, William D. "Brass Foundry Is Endmost, just Debate Over Degas's Work Goes On", The New York Times, 4 April 2016. retrieved 12 June 2016.
63. ^ "Bailey, Martin, "Degas bronzes controversy leads to scholars' boycott", The Fine art Newspaper, 31 May 2012". Theartnewspaper.com. Archived from the original on 19 August 2012. Retrieved four January 2013.
64. ^ According to William Cohan, "a group of Degas experts" who convened in January 2010 to discuss the sculptures reached "universal agreement ... that these things were not what they were existence advertised as", but declined to speak on the record, citing fear of litigation. Cohan, William D., "Shaky Degas Dancer Gets the Silent Treatment", BloombergView, 22 August 2011. Retrieved 13 August 2014.
65. ^ ^{a b c} Werner 1969, p. 11
66. ^ Nord, Philip Grand. (1995). The Republican Moment: Struggles for Democracy in Nineteenth-century France . Harvard University Press. pp. 177-178. ISBN9780674762718.
67. ^ [ane] Archived 1 October 2011 at the Wayback Machine
68. ^ Bernheimer, Charles; Armstrong, Ballad; Kendall, Richard; Pollock, Griselda (March 1993). "Odd Man Out: Readings of the Piece of work and Reputation of Edgar Degas". The Fine art Message. 75 (i): 180. doi:10.2307/3045939. ISSN 0004-3079. JSTOR 3045939.
69. ^ Nochlin, Linda (1989). Politics of Vision: Essays on 19th Century Art And Society. Harper & Row. ISBN978-0-06-430187-nine.
70. ^ Bowness 1965, pp. 41–42
71. ^ Muehlig 1979, p. seven
72. ^ Guillaud and Guillaud 1985, p. 46
73. ^ Thomson 1988, p. 135
74. ^ Mannering 1994, pp. 6–7
75. ^ J. Paul Getty Trust
76. ^ "Degas: A passion for perfection". Fitzwilliam Museum . Retrieved 23 November 2017.
77. ^ ^{a b} "The Portraits". npg.si.edu. 21 August 2015. Retrieved fourteen August 2019.
78. ^ Mary Cassatt: an American Observer: a loan exhibition for the benefit of the American Fly of the Metropolitan Museum of Art, October. 3–27, 1984. 1984. New York, N.Y.: Coe Kerr Gallery. OCLC 744493160
79. ^ Duranty 1876.
80. ^ MoMA Highlights: 350 Works from The Museum of Modern Fine art, New York, p. 31, at Google Books
81. ^ Gordon and Forge 1988, pp. 110–112
82. ^ Bullard, p. xiv.
83. ^ Mathews, pp. 312–13.
84. ^ Strasnick, Stephanie. "Degas and Cassatt: The Untold Story of Their Creative Friendship". ARTnews. Archived from the original on 27 March 2014.
85. ^ Baumann, et al. 1994, p. 270
86. ^ Mathews, p. 149.
87. ^ Meiseler, Stanley (9 July 2006). "History'due south new verdict on the Dreyfus case". Los Angeles Times. Archived from the original on 9 January 2014.
88. ^ Mathews, p. 275.
89. ^ Shackelford, p. 137.
90. ^ Mathews, pp. 303, 308.

Sources [edit]

• Armstrong, Carol (1991). Odd Man Out: Readings of the Work and Reputation of Edgar Degas. Chicago / London: Academy of Chicago Press. ISBN 0-226-02695-vii
• Auden, W.H.; Kronenberger, Louis (1966), The Viking Volume of Aphorisms, New York: Viking Printing
• Bade, Patrick; Degas, Edgar (1992). Degas. London: Studio Editions. ISBN 1-85170-845-half-dozen
• Barter, Judith A. (1998). Mary Cassatt, modern woman (1st ed.). Art Institute of Chicago in association with H.N. Abrams. ISBN978-0-8109-4089-5.
• Baumann, Felix Andreas; Boggs, Jean Sutherland; Degas, Edgar; and Karabelnik, Marianne (1994). Degas Portraits. London: Merrell Holberton. ISBN 1-85894-014-i
• Benedek, Nelly South. (2004). "Chronology of the Artist'due south Life". Metropolitan Museum of Art. Archived from the original on 2 May 2006. Retrieved 6 May 2006.
• Benedek, Nelly Due south. (2004). "Degas'due south Artistic Style". Metropolitan Museum of Art. Archived from the original on 12 November 2006. Retrieved 6 May 2006.
• Bowness, Alan. ed. (1965) "Edgar Degas", in The Book of Art Book 7. New York: Grolier Incorporated :41.
• Brettell, Richard R.; McCullagh, Suzanne Folds (1984). Degas in The Fine art Institute of Chicago. New York: The Fine art Institute of Chicago and Harry N. Abrams, Inc. ISBN 0-86559-058-3
• Brown, Marilyn (1994). Degas and the Business concern of Art: a Cotton Part in New Orleans. Pennsylvania State University Press. ISBN 0-271-00944-6
• Bullard, John E. (1972). Mary Cassatt: Oils and Pastels. Watson-Guptill Publications. ISBN0-8230-0569-0. LCCN lxx-190524.
• Canaday, John (1969). The Lives of the Painters Volume 3. New York: W.W. Norton and Company Inc.
• Clay, Jean (1973). Impressionism. Secaucus, NJ: Chartwell. ISBN 0-399-11039-nine
• Dorra, Henri. Art in Perspective New York: Harcourt Caryatid Jovanovich, Inc.:208
• Dumas, Ann (1988). Degas's Mlle. Fiocre in Context. Brooklyn: The Brooklyn Museum. ISBN 0-87273-116-2
• Dunlop, Ian (1979). Degas. New York: Harper & Row. OCLC 5583005
• Duranty, Louis Edmund (1990) [1876]. La Nouvelle peinture: À propos du groupe d'artistes qui expose dans les galeries Durand-Ruel, 1876 (in French). Paris: Echoppe. ISBN978-2-905657-37-4. LCCN 21010788.
• "Edgar Degas, 1834–1917", in The Book of Fine art Volume III (1976). New York: Grolier Incorporated:4.
• Gordon, Robert; Forge, Andrew (1988). Degas. New York: Harry N. Abrams. ISBN 0-8109-1142-six
• Growe, Bernd; Edgar Degas (1992). Edgar Degas, 1834–1917. Cologne: Benedikt Taschen. ISBN 3-8228-0560-2
• Guillaud, Jaqueline; Guillaud, Maurice (editors) (1985). Degas: Grade and Space. New York: Rizzoli. ISBN 0-8478-5407-8
• Hartt, Frederick (1976). "Degas" Art Book 2. Englewood Cliffs, NJ: Prentice-Hall Inc.: 365.
• "Impressionism." Praeger Encyclopedia of Art Book 3 (1967). New York: Praeger Publishers: 952.
• J. Paul Getty Trust, "Walter Richard Sickert". 2003. 11 May 2004.
• Kendall, Richard (1996). Degas: Beyond Impressionism. London: National Gallery Publications in clan with the Art Constitute of Chicago. ISBN one-85709-130-two
• Kendall, Richard; Degas, Edgar; Druick, Douglas W.; Beale, Arthur (1998). Degas and The Piffling Dancer. New Haven, CT: Yale University Press. ISBN 0-300-07497-2
• Krämer, Felix (May 2007). "'Monday tableau de genre': Degas's 'Le Viol' and Gavarni'due south 'Lorette'". The Burlington Magazine 149 (1250).
• Mannering, Douglas (1994). The Life and Works of Degas. Swell Uk: Parragon Book Service Express.
• Mathews, Nancy Mowll (1994). Mary Cassatt: A Life. New York: Villard Books. ISBN978-0-394-58497-3.
• Muehlig, Linda D. (1979). Degas and the Dance, 5–27 April May 1979. Northampton, MA: Smith College Museum of Art.
• Peugeot, Catherine, Sellier, Marie (2001). A Trip to the Orsay Museum. Paris: ADAGP: 39.
• Pollock, Griselda (1998). Mary Cassatt: Painter of Modern Women. London: Thames & Hudson. ISBN978-0-500-20317-0. LCCN 98-60039.
• Reff, Theodore (1976). Degas: the artist'south mind. [New York]: Metropolitan Museum of Art. ISBN 0-87099-146-9
• Roskill, Mark W. (1983). "Edgar Degas" in Collier'south Encyclopedia.
• Shackelford, George T.M. (1998). "Pas de Deux: Mary Cassatt and Edgar Degas". In Barter, Judith A. (ed.). Mary Cassatt, modern woman / organized by Judith A. Barter; with contributions by Erica E. Hirshler ... [et al.] New York: Harry North. Abrams, Inc. pp. 109–143. ISBN0-8109-4089-2. LCCN 98007306.
• Shackelford, George T. M., Xavier Rey, Lucian Freud, Martin Gayford, and Anne Roquebert (2011). Degas and the Nude. Boston: MFA Publications. ISBN 978-0-87846-773-0
• Thomson, Richard (1988). Degas: The Nudes. London: Thames and Hudson Ltd. ISBN 0-500-23509-0
• Tinterow, Gary (1988). Degas. New York: The Metropolitan Museum of Fine art and National Gallery of Canada.
• Turner, J. (2000). From Monet to Cézanne: Belatedly 19th-century French Artists. Grove Fine art. New York: St Martin's Press. ISBN 0-312-22971-2
• Werner, Alfred (1969) Degas Pastels. New York: Watson-Guptill. ISBN 0-8230-1276-X
• Coverage of the Degas fence Past Martin Bailey. News, Issue 236, June 2012

Further reading [edit]

• Capriati, Elio (2009). I Segreti di Degas. Milan: Mjm Editore. ISBN978-88-95682-68-6.
• Dumas, Ann, et al. (1997).The Private Collection of Edgar Degas at the Metropolitan Museum of Art. New York: Distributed by H.N. Abrams.
• Valery, Paul (1989). Degas, Manet, Morisot. Princeton University Press.

External links [edit]

• 35 artworks past or after Edgar Degas at the Art Uk site
• Edgar Degas at Norton Simon Museum, Pasadena, California
• Degas, Sickert and Toulouse Lautrec at Tate
• Edgar Degas Gallery at MuseumSyndicate
• Edgar Degas paintings and interactive timeline
• Marriage Listing of Creative person Names, Getty Vocabularies. ULAN Full Record Brandish for Edgar Degas. Getty Vocabulary Programme, Getty Research Institute. Los Angeles.
• Works and literature on Edgar Degas
• The Complete Fix of Edgar Degas Bronzes at the M.T. Abraham Foundation
• Edgar Degas exhibition catalogs and letter from The Metropolitan Museum of Art Libraries
• Impressionism: a centenary exhibition, the Metropolitan Museum of Fine art, December 12, 1974 – February 10, 1975, fully digitized text from The Metropolitan Museum of Art libraries
• Edgar Degas in American public collections, on the French Sculpture Census website

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Source: https://en.wikipedia.org/wiki/Edgar_Degas

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