Degas was born in 1834 in Paris, France. He was trained in the
classics, through which he developed traditional techniques as well as
inspiration from outside influences such as the Italian Renaissance painters
and their frescoes. While he lived through the Impressionist era, he never conceded
to taking on the label, preferring to be called a realist. Nevertheless, his
scenes depict many of the core tenants of impressionist art in his choice of
open air landscapes, figure contours, and scenes of modern life in cafes and
theaters. His late work in particular possesses a certain sense of ambiguity,
recognized for its trance-like state between past and resent. The notable
features of dangers are almost invariably shown in rehearsal or backstage,
evoking a deeper understanding for the effort and sacrifices made in the strive
for artistic perfection.
Petitte danseuse de quatorze ans (1878-81)
In the early 1880s Degas began to pull away from Impressionism
and experiment with his monotype series, most famously the wax doll of a
sculpture, the Petitte danseuse de
quatorze ans (1878-81). The raw uncast wax of the dancer contrasts with the
real, literalist silk and linen, the tutu of tulle and cotton bodice, on show
in a museum glass cabinet. The institution nature of the presentation seems to
underline the connection between art, commodity, and the specimen exhibition.
The sculpture was like nothing else of its time, received by most as radical in
its “devenustation” of the female face and body, with ugly features supposedly
revealing “plebian” origins. This piece established Degas as a sculptor of
note, despite the lack of specialist training in the field.
Danseuses a la barre (1890)
Etude de nu pour une danseuse a la barre (1895-98)
From the late 1880s until 1910, Degas confined himself largely
to four subjects: dancers, nudes, jockeys, and horses. This study and oil
painting provide a striking example of the artist’s fascination with the female
nude and the ballet. The first,, Étude de Nu pour une Danseuse á la Barre, is pastel and charcoal on paper, in
which Degas examines the female body in particular pose,, exploring the nuances
of movement and form. In the late period of his oeuvre, his work in pastel
features mostly nudes, utilizing sponging, scribbling, hatching, and smudging
techniques. Degas' lasting interest in dance ranges from these natural
unguarded gestures of dancers at rest to the more stylized, trained movements
of classical ballet. For his large pastels, Degas often utilized such
preliminary studies of isolated figures. The second piece, Danseuses a la barre, shows the dancer now clothed in a tutu and
shoes. The viewer seems to catch the figure in a private moment, her head
turned gently and only partially visible. The immediacy of the figure augments
the captivating beauty of her pose, while the gaze evokes a more melancholy
effect of concentrated effort. Degas’s masterful depiction of the human body in
motion creates a visual metaphor for the strive for artistic perfection.
http://www.metmuseum.org/toah/hd/dgsp/hd_dgsp.htm
http://www.sothebys.com/en/auctions/ecatalogue/2013/impressionist-modern-art-day-sale-n08988/lot.468.html
http://www.sothebys.com/en/auctions/ecatalogue/2013/impressionist-modern-art-day-sale-n08988/lot.468.html
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